tag:blogger.com,1999:blog-291479522024-03-13T11:26:39.828-07:00Turning the TideAn array of photos and writings from the past to sometime near now.Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.comBlogger188125tag:blogger.com,1999:blog-29147952.post-86644875153774629472024-03-12T22:01:00.000-07:002024-03-13T06:38:27.706-07:00Tetsuko-Curl<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYUSfyuGOcKeLMe6cBWaTa9KEoAs4T9Etc6fn8VAQtIK2Jsi_5w0neQMxEXQsjOKzMIHKyBKWWVdIj5JGnReOlCHVxboJNV8rZ8G2D0_CS8foLh9WlJQTvtHy-eJy-jmEuguocCN8xgSPEgG53qEoWnRVn8A3vM8NO1pUeDCZdPiUDTnMChX24uw/s400/tetsuko-curl.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="399" data-original-width="400" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYUSfyuGOcKeLMe6cBWaTa9KEoAs4T9Etc6fn8VAQtIK2Jsi_5w0neQMxEXQsjOKzMIHKyBKWWVdIj5JGnReOlCHVxboJNV8rZ8G2D0_CS8foLh9WlJQTvtHy-eJy-jmEuguocCN8xgSPEgG53qEoWnRVn8A3vM8NO1pUeDCZdPiUDTnMChX24uw/w400-h399/tetsuko-curl.png" width="400" /></a><br /><br /><div style="text-align: left;"><span id="docs-internal-guid-c2c6d682-7fff-6b03-fd92-ea16b2b08e43"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><div style="text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; white-space-collapse: preserve;">For 25 years, Tetsuko have presented a highly original and distinctive sound with seemingly no discernable influences. Art rock undercurrents along the lines of Talking Heads, Sparks, Roxy Music and Haruomi Hosono/Yellow Magic Orchestra may be detected, but their overall sound waves are undeniably pop. This makes sense as they started as a Beatles cover band in 1995. In fact, Reiko 渡邊玲子 has been playing with drummer Yasuyo 関安代 since junior high. The current lineup came together in 1999 at a Kyoto college with bassist Yoko 野瀬陽子 joining Reiko and Yasuyo. </span></div><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">
<div style="text-align: justify;"><span style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;">The trio achieves the tricky balance of aligning a churning rhythm section with Reiko’s charging guitar and charming vocals. They demonstrate their dexterity with dashing twists and turns through sparkling pop that most reminds me of <a href="https://en.wikipedia.org/wiki/Palomar_(band)" target="_blank">Palomar</a> or <a href="https://www.youtube.com/watch?v=YLvQt_wLSSo" target="_blank">Kabochack</a>. The band continuously punches above their weight and whips up an enlarged sound that is both enduring and appealing due to care they place in harmonies and arrangements. The last two years have been filled with momentum as they were headlining stars of <a href="https://en.wikipedia.org/wiki/Mike_Rogers_(producer)" target="_blank">Mike Rogers</a>’ 2023 Japan Indies Music Awards that took place at the world famous Shibuya Milky Way Showroom in Tokyo. Further, 2024 has brought the worldwide release of</span><span style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"> Curl</span><span style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;">, which could be considered their catchiest, thickest sounding and most cohesive release of their long career.</span></div></span><p></p></span></div><br /></div><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/PePfFw4QReo?si=-0ZtcJ0rNnIiFaTb" title="YouTube video player" width="560"></iframe><div class="separator" style="clear: both; text-align: center;"><br /></div><div><span id="docs-internal-guid-3a882b36-7fff-4a60-88f4-15040379d802"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 700; vertical-align: baseline; white-space-collapse: preserve;">Ladies First</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">The album opens in a big way with the seemingly detached trio coming together quickly in musical confluence. </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">“Holy Girl, Tetsuko'' sprints out with a verse that echoes <a href="https://www.youtube.com/watch?v=ZT9tJCXIlnk&list=OLAK5uy_l8OcMmVhXgsOPZSHpIJanyp5djNlulj54" target="_blank">“Summer Means Fun”</a> by Bruce and Terry before bursting into a top-of-the-world melody that could be a theme to a Japanese TV show. “15000th Time” is a floor shifting new wave number topped off with a chorus that seems actually inspired by “Time After Time” by Cyndi Lauper. One of their most daring numbers “Permanent,” is pulled off by their finesse along with the telepathy they have established by playing together for 25 years. It's almost Zappa-esque in its amorphous shape shifting and interludes of wooziness. It rates up there with <a href="https://www.youtube.com/watch?v=wtKeMEg3sIs&list=OLAK5uy_mtAOJwBPWcQyJjgzzisHlAW-4jzLqX7e8&index=6" target="_blank">“End of Philosophy”</a> from their 2013</span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> candy guitar</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> ep or <a href="https://www.youtube.com/watch?v=GCnaFQOc5Uw&list=OLAK5uy_n4D1WHSEpWSPIy2VtGia6uq3nRL9Z4e8Y&index=7" target="_blank">Ambassador アンバサダー</a> from 2021's <i>Perfect</i> in terms of the band successfully stretching out. </span></p></span></div><p></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/grbJPcUEpDs?si=TvG9Zb-N9K-_cXfG" title="YouTube video player" width="560"></iframe><div><br /></div><div><span id="docs-internal-guid-c86f470b-7fff-5eca-f92c-531ebd5571a4"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><div style="text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">At times the atmosphere they create evokes the one found in Yoko Ono’s<a href="https://en.wikipedia.org/wiki/Approximately_Infinite_Universe" target="_blank"> </a></span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><a href="https://en.wikipedia.org/wiki/Approximately_Infinite_Universe" target="_blank">Approximately Infinite Universe</a>, </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">while their songs adhere to Yoko’s songs on </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Double Fantasy, </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">which more than hinted</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> Yoko was paying attention to Blondie and the B-52's-who Yoko initially inspired in the first place! Following the delightful and brilliant wackiness, is the straightforward Shonen Knife-ish “BABY, BABY, BABY,” one of their several songs with “Baby” in its title. (The others being “my BABY” from 2019’s </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">I Love You</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> and the epic “BABY” found on 2017’s</span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> Eros</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> mini-album.) </span></div><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><div style="text-align: justify;"><span face="Arial, sans-serif" style="font-size: 14.6667px; white-space-collapse: preserve;"><br /></span></div><span face="Arial, sans-serif" style="font-size: 11pt; white-space-collapse: preserve;"><div style="text-align: justify;"><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><span style="font-size: 11pt;">Tetsuko are conceptual artists that deliver exceptional goods. Further, they have always displayed a sense of dynamics in their concise and economical guitar-driven pop songs that efficiently motor along like a Honda Civic. Their latest </span></span><span style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;">Curl</span><span style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"> features a thicker, but not slicker sound along with some extra layers of sonic embellishments. Thankfully, the trio continue on as immediate and radiant as ever, while remaining the one and only Tetsuko. </span></div></span></span><p></p></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCmge5k3Mo1Tr0r0ZraD2TJvp69tWcD2_u6kwfIsLEirJJmJLM_0b9T0XKdZAQloXRv1TaAQbGf5EXVv6Efi4JQvu_EMeTWat0CwEdhzAsx9tag1OVVsYaUVYRtf96MymO1TeUipe4DLUXGVPmMZXbfwRknvdZW6n6VtvnOyethDCNnGg8PHTRLw/s768/Tetsuko-Curl-artist-photo-%E9%80%9A%E5%B8%B8%E7%89%88%E5%9C%A7%E7%B8%AE-768x512.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="768" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCmge5k3Mo1Tr0r0ZraD2TJvp69tWcD2_u6kwfIsLEirJJmJLM_0b9T0XKdZAQloXRv1TaAQbGf5EXVv6Efi4JQvu_EMeTWat0CwEdhzAsx9tag1OVVsYaUVYRtf96MymO1TeUipe4DLUXGVPmMZXbfwRknvdZW6n6VtvnOyethDCNnGg8PHTRLw/w564-h376/Tetsuko-Curl-artist-photo-%E9%80%9A%E5%B8%B8%E7%89%88%E5%9C%A7%E7%B8%AE-768x512.jpg" width="564" /></a></div>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-10737621657028973582024-03-03T08:16:00.000-08:002024-03-05T05:03:09.884-08:00Alex Chilton-Ocean Club ‘77 & More<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH0jxPPvStNQz_WiHwxmAyXh_RhQTJfn-pjD40DT-qiuX3cEfsOSBkxHnecTqCHfyuTVqEN9M3p07_vr2Y0msSX5t0FmrykKxXpm6GcmMl2Jk5Wuh-zeE1ld5Pfvo5Jwqxg8Rl_-R8xEo3VVtWOInbYGezD6CH0aV0ENSDUWRbOxw71wnXfiYesw/s1200/ocean%20club.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH0jxPPvStNQz_WiHwxmAyXh_RhQTJfn-pjD40DT-qiuX3cEfsOSBkxHnecTqCHfyuTVqEN9M3p07_vr2Y0msSX5t0FmrykKxXpm6GcmMl2Jk5Wuh-zeE1ld5Pfvo5Jwqxg8Rl_-R8xEo3VVtWOInbYGezD6CH0aV0ENSDUWRbOxw71wnXfiYesw/w400-h400/ocean%20club.jpg" width="400" /></a></div><span id="docs-internal-guid-693fb55b-7fff-8f96-615f-be4d9f35e370"><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Like Lou Reed (1942-2013), listeners are still trying to wrap their heads around the music and myths of American legend Alex Chilton (1950-2010). Both went through a myriad of artistic changes and phases in their career. One started in a cult famous band (the Velvet Underground) and transformed into a bigger solo star during the classic rock era. In contrast, Alex Chilton started right from the top with the enduring 1967 hit “The Letter.” After forming the critically acclaimed, but marketplace flops Big Star, he worked along the periphery as a solo performer, provocateur and producer of bands like the Cramps and the Royal Pendletons. While Alex and Lou’s career trajectories went in opposite directions, a majority of their music continues to not only endure, but somehow reveal additional layers of depth with each passing year. Lou Reed (as a person and performer) could be said to be a face changer (<a href="https://en.wikipedia.org/wiki/Bian_lian" target="_blank">Bian Lian 變臉</a>), while Alex Chlton seemed to be just enigmatic Chilton. </span></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJuSZ9Cr-GYXfgfk4SPakglUknfg-cFZ8t9nV844FmM9MW8JxkZCvcYvzBrjTVJQycB3-ZWsiy-EJ-oxoRPAPiVhlsPJCRSMZEZFMcc3xvzq3Jvu2fXASrplxIEzqitQQu4Hf5X3HWJTGlyPpv0zRXJLt0yaCXTuhvrobwIDoSg5lnlwEspiDwbg/s350/letter-ita.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="344" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJuSZ9Cr-GYXfgfk4SPakglUknfg-cFZ8t9nV844FmM9MW8JxkZCvcYvzBrjTVJQycB3-ZWsiy-EJ-oxoRPAPiVhlsPJCRSMZEZFMcc3xvzq3Jvu2fXASrplxIEzqitQQu4Hf5X3HWJTGlyPpv0zRXJLt0yaCXTuhvrobwIDoSg5lnlwEspiDwbg/s320/letter-ita.jpg" width="315" /></a><br /><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/XOHhZQESvHI" width="320" youtube-src-id="XOHhZQESvHI"></iframe></div><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Alex was said to be petulant, mercurial and frustrating like a child, but also capable of numemous moments of brilliance and near genius. When he rose to the occasion and played up to his abilities, Chilton could overflow with joyous inspiration as he sang to his devoted audience and transfigured the moment like adult-child Brian Wilson. Appearance-wise Chilton was as handsome as Dennis Wilson and he could look so debonair like a soul deep and professorial Southern gentleman. Other times, he would wear shabby plain white t-shirts like the New York City cab driver he once was. <br /></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRuU271kC2CsFvW9YoBzgYsUkg3WILX4TnGA6A8xsut-EXC_z3y_IdWK6X11WVwEibVE_YhW1v2guEmDIpuLBDfGOPdebsDQzERLQzbX3oTOmn_VgyYUjnqlH1l4IML76SYL6m4p7XN3d-rm4c4hkgdlTBevPaUoreUzzDsOFC4M2lMs5z2bL8dQ/s465/dennis%20wilson.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="465" data-original-width="450" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRuU271kC2CsFvW9YoBzgYsUkg3WILX4TnGA6A8xsut-EXC_z3y_IdWK6X11WVwEibVE_YhW1v2guEmDIpuLBDfGOPdebsDQzERLQzbX3oTOmn_VgyYUjnqlH1l4IML76SYL6m4p7XN3d-rm4c4hkgdlTBevPaUoreUzzDsOFC4M2lMs5z2bL8dQ/s320/dennis%20wilson.jpg" width="310" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Alex Chilton & Dennis Wilson-1968 Beach Boys/Box Tops tour.</td></tr></tbody></table><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">
<p style="text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;">It has taken me almost 50 years to finally get into his untamed and unvarnished solo sides after growing up with the Box Tops on oldies radio and the requisite discovery of Big Star during my college years in the early '90s. I recall going to Tower Records in Chicago, which yielded Big Star's </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;">#1 Record/Radio City</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"> two-fer on CD and a copy of</span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;">the revelatory Memphis ‘zine </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;">Wipe Out! Guide for Goners no. 6</span></span><span style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><span face="Arial, sans-serif"><span><span style="font-family: arial;"> besides being blown away seeing rack after rack of Ventures reissues from Japan.
</span></span></span></span><span style="font-size: 14.6667px; white-space-collapse: preserve;"><br /></span><b style="font-size: 11pt; white-space-collapse: preserve;"><span style="font-family: arial;">Off the Cuff<br /></span></b><span style="font-size: 11pt;">While many will say he squandered some of his immense talents, Chilton seemed to relish in venturing far off the musical rails and defying most expectations. However, he could quickly snap into the alignment when necessary due to those aforementioned talents and/or when it was necessary to make some money (as he would candidly admit in interviews about the Box Tops and Big Stars reunions). Still he seemed to have never left his wilderness years and appeared content to play music from time to time and flip channels between <i>Walker, Texas Ranger</i> and college basketball. This was the same artist who collaborated with photographer </span><span style="font-size: 14.6667px; text-align: left;"><a href="https://egglestonartfoundation.org/" target="_blank">William Eggleston</a> and created spiritual pop with Chris Bell! </span><span style="font-size: 11pt;">An any rate, it was all a part of what made Alex who he was along with his refreshing “Take It or Leave It" attitude.</span></p></span></span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><span style="font-family: arial;"><div style="font-size: 11pt; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH4JD04wrAsN62nnZGZrGQl0WL2mZo26DH28-8_nPyYK3wssE3Jf1e_AVneL8jBl-Ocpi7maq-OaAokByWhX887YsPFzZiZXg6EdTOgvpy8IiuCu4r2MMEJiT3m41l-l8A1zsS1EyB9oN5Fi5b0jbCWA975wf569dJuZfIlsYz_K8mQ75NLIftqA/s616/2010.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="408" data-original-width="616" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH4JD04wrAsN62nnZGZrGQl0WL2mZo26DH28-8_nPyYK3wssE3Jf1e_AVneL8jBl-Ocpi7maq-OaAokByWhX887YsPFzZiZXg6EdTOgvpy8IiuCu4r2MMEJiT3m41l-l8A1zsS1EyB9oN5Fi5b0jbCWA975wf569dJuZfIlsYz_K8mQ75NLIftqA/w457-h303/2010.jpg" width="457" /></a></div></div><p style="font-size: 11pt; text-align: justify;"><span style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><span style="font-family: arial;">Nevertheless, the spotty studio albums along with a protracted jumble of odds & ends from labels from all over the world continued to surface year after year. It was understandable when a friend declared, “I don’t go out of my way to seek out Alex Chilton solo albums, I let them come to me.” Still, </span></span><span style="font-family: arial; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;">Like Flies on Sherbert</span><span style="font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"> is a compelling stripped-down rock ‘n’ roll record and sounds nothing like 1980 (and 1980 was a pretty good year for music in general.) I would say age, additional exposure to music and hopefully some more wisdom regarding the human condition does certainly lead to the understanding and enjoyment of Chilton’s perennial messiness. By the way, you can hear the influence of the title track on Freezing Hands’ “High Diver!” found on their </span><span style="font-family: arial; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;">Empty the Tank</span><span style="font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"> album from 2023.</span></p></span></span><p style="text-align: left;"></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/yMDPx4O1_tE?si=vSAlNCwp9UNNwAv7" title="YouTube video player" width="560"></iframe><p style="text-align: left;"></p></span><p style="text-align: left;"></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2074376203/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3768041239/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://thefreezinghands.bandcamp.com/album/empty-the-tank-2">Empty the Tank by Freezing Hands</a></iframe>
Electricity by Candlelight </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">NYC 2/13/97 is Chilton’s own</span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> Beach Boys’ Party!</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> moment that has him “preaching to the choir” with three Beach Boys numbers (“Wouldn't It Be Nice,” “Surfer Girl,” “Solar System”) who return the mutual love in return. You can hear the communion in the room by the sound of overflowing applause during this stretch of the show. (Remember that Chilton’s Box Tops toured with Beach Boys in 1967-68 and the Beach Boys’ own live 1967 cover of “The Letter” can be heard on </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Sunshine Tomorrow</span></span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><span face="Arial, sans-serif" style="font-size: 11pt; white-space-collapse: preserve;"><span style="font-family: arial;">.) It was the right place at the right time as Chilton was in his impromptu comfort zone and electrifying as <a href="https://en.wikipedia.org/wiki/Reddy_Kilowatt" target="_blank">Reddy Kilowatts</a>. This all-covers and acoustic recording is highly recommended when it comes to capturing absolute Alex and an overall majestic performance. </span>
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</span></p><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja7KbvvlORkElEL5O9cPpSwhoPeQkXQqprSDJdRXfo7jF-UkWX_1PulZ9XFmTmph2UCUGGBF6GrhNX3KN4955Sgv970wKT5Rd6EBpvtzF6W8whTirU7LofVwvepE0_a9HAc3AwgaiY3FgKlwp3UhrJO2eq9FIkQDb8JgAuVLezNrm9rwVZT8oYXQ/s1000/candlelight.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja7KbvvlORkElEL5O9cPpSwhoPeQkXQqprSDJdRXfo7jF-UkWX_1PulZ9XFmTmph2UCUGGBF6GrhNX3KN4955Sgv970wKT5Rd6EBpvtzF6W8whTirU7LofVwvepE0_a9HAc3AwgaiY3FgKlwp3UhrJO2eq9FIkQDb8JgAuVLezNrm9rwVZT8oYXQ/s320/candlelight.jpg" width="320" /></a><br /></div></div><p style="text-align: left;"></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: left;"></p><p style="text-align: justify;"><span style="font-family: arial;"><span><span style="font-size: 11pt; white-space-collapse: preserve;">Alex also expressed his devotion to the Beach Boys after his remarkable April 1996 set with Teenage Fanclub in their Glasgow hometown when he thanks Carl, Dennis and Brian…and inexplicably Gene Krupa. With being the master of the straight-foward, endearing and catchy pure-pop song, Alex was embraced and adored by the shambolic Scottish pop scene. Teenage Fanclub and Alex Chilton made for quite a combination in the realm of guitar-driven pop. <a href="https://www.youtube.com/watch?v=O701n5GHFo0&list=PLtDesRg3bQfvnuNF8BJfw9UpXZi7Zooew&index=8" target="_blank">“Telstar”</a> and <a href="https://www.youtube.com/watch?v=GhDDJjcPjoE&list=PLtDesRg3bQfvnuNF8BJfw9UpXZi7Zooew&index=9" target="_blank">“Have I the Right,”</a> <a href="https://www.youtube.com/watch?v=VaF20YZUBWw&list=PLtDesRg3bQfvnuNF8BJfw9UpXZi7Zooew&index=7" target="_blank">“Free Again”</a> and<a href="https://www.youtube.com/watch?v=7lycL3NaKa0&list=PLtDesRg3bQfvnuNF8BJfw9UpXZi7Zooew&index=4" target="_blank"> “Patti Girl”</a> by ‘60s Ohio kiddie band Garry and the Hornets were all part of the stellar set-list that night.
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</span></span></p><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><span><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/YJNLPKbLnoU" width="320" youtube-src-id="YJNLPKbLnoU"></iframe></span></span></div></div><span style="font-family: arial;"><span style="font-size: 11pt;"><p style="text-align: justify;"><span style="font-size: 11pt;">Chilton’s taste in music was undeniably Grade-A. Over the years, his expansive “human jukebox” repertoire ranged freely from the most unvarnished R&B, country shuffles, ‘70s soul and snotty garage punk of the Seeds to cosmopolitan classics like “Volaré,” “The Girl From Ipanema” along with the warmth of the Beach Boys. While sometimes criticized for “relying” heavily on covers, Alex was generously sharing his discoveries, recognizing the unsung and tapping his vast talents with his interpretations. In other words, his tastes were too universal and his passion too strong to be contained and listeners are all the better for it. </span></p></span></span><p style="text-align: left;"></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">20 years earlier, Alex was seemingly in another one of his murky and makeshift phases of his life that lead to the gritty </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Ocean Club ‘77 </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">performance</span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">.</span><span face="Arial, sans-serif" style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><span style="font-size: 11pt; white-space-collapse: preserve;"> The February night show has Chilton fronting a trio with backing vocals & bass from Chris Stamey and Lloyd Fonoroff on drums. The Lower Manhattan Ocean Club was a bar, restaurant, and performance venue operated by Max's Kansas City owner Mickey Ruskin and was commonly known as simply, "The Ocean Club." The New York-area seemed to be a place where Chilton thrived as a live performer as evidenced from the raspy voiced performance of “The Letter” at The Bitter End* (*actually a soundstage in New Jersey) where he seemed to tap into his inner-Jim Morrison to his cover of “Duke of Earl” at Coney Island High in 1998 where you can detect his influence on Ted Leo.
</span><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/OnTDqM1pfTI?si=AQ8uhF7xQiosu1_0" title="YouTube video player" width="560"></iframe><br /><br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/YY4evuFwTKg?si=wnYVkMqGxLJA0z8_" title="YouTube video player" width="560"></iframe></span></span></p><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><div style="text-align: justify;"><p><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;">In the </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;">Ocean Club ‘77</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><span face="Arial, sans-serif" style="font-size: 11pt;"> liner notes, Michael Hurtt articulately conveys the “crossroads” both New York City and Chilton were at in 1977. Hurtt writes that Chilton's particular stint in the city is crucial for “Revealing a hitherto unheard middle ground between pop perfection and rock ‘n’ roll iconoclasm.” On this night, Alex was generous with the Big Star songs that were then of recent vintage. At the time, “September Gurls,” “In the Street,”, “Back of a Car” “O My Soul” and “Way Out West” had yet to achieve their full exalted status. After a snarling and coiling version of the Seeds’ “Can’t Seem to Make You Mine," the trio unfolds “The Letter” which is reconfigured in a hard, heavy manner bordering on deconstruction.
</span></span></p></div></span></span><div style="text-align: center;"><span face="Arial, sans-serif" style="font-size: 14.6667px; white-space-collapse: preserve;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBp_RjuI3qR6tOXIEQe6Hx_Tet6MMRRZbXwKGCvQDzS8RoVlnQahD8EsOTn1TBCfa8FpcECBLbXstszWcjfa1FuvPXA3xgMTsXNlDcTan7F39pDKNhNTJ-hvqMVQnolixwznlqiTn7lHuWoueezpCDBJVLCSi-af3vi6NLM2ld0GsL426h-ChC8A/s898/alexChiltonCBGB77.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="559" data-original-width="898" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBp_RjuI3qR6tOXIEQe6Hx_Tet6MMRRZbXwKGCvQDzS8RoVlnQahD8EsOTn1TBCfa8FpcECBLbXstszWcjfa1FuvPXA3xgMTsXNlDcTan7F39pDKNhNTJ-hvqMVQnolixwznlqiTn7lHuWoueezpCDBJVLCSi-af3vi6NLM2ld0GsL426h-ChC8A/w575-h358/alexChiltonCBGB77.JPG" width="575" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Chilton 1977 at CBGB with Chris Stamey on bass</td></tr></tbody></table><br /></span></div>
<span style="font-family: arial;"><div style="text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; white-space-collapse: preserve;">A heartfelt version of “Wouldn’t It Be Nice” brings California summer to the New York winter and is appropriately followed by “Way Out West.” The Memphis sound reappears with “She Might Look My Way.” This co-write with Tommy Hoehn would later surface on Chris Stamey’s</span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> <a href="https://rememberthelightning.substack.com/p/the-great-escape-by-chris-stamey?utm_source=%2Fsearch%2Fchris%2520stamey&utm_medium=reader2" target="_blank">Great Escape</a> </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">album from 2023. The set surprisingly ends with a composition from Nelson Slater-one of Lou Reed’s old band buddies from Syracuse University. Reed produced Nelson’s </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Wild Angel</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> album that was released by RCA in September 1976. Only Alex would choose to cover such marginal material that wasn’t even a year old. The Memphis trickster concludes by playing the unexpected wild card. On this night, he shattered expectations by presenting a well-balanced and diversified set with one foot in the past and one foot orientated towards the future as he embraced the moment.
</span><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/k6eLKb9dPiQ?si=ss_TPiMvsqB_oLyl" title="YouTube video player" width="560"></iframe></div></span><div style="text-align: left;"><div style="text-align: left;"><span style="font-family: arial; font-size: 11pt; white-space-collapse: preserve;">
<div style="text-align: justify;"><span style="font-size: 11pt;">Whatever prevailing winds were blowing through the music industry during his time, Chilton seemed smartly removed, nonchalant and unconcerned. He went against the grain of the music industry and also possibly against himself for better or worse. Being a musical force of nature often comes with a strong personality. Many strong personalities and contrarians can quickly become wearing, boring and predictable. Alex was one of the exceptions and like Lou Reed, he defied the odds and artistically succeeded on his own terms. </span></div></span></div><span style="font-family: arial; text-align: justify;"><div style="text-align: left;"><p style="text-align: center;"><span></span></p><div class="separator" style="clear: both; text-align: center;"><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTC78JGwtQKswmhXDyM1EYwT38x2Bb6mFSedIoo1w9nJ7Nk-Y56miHn8RaJFwtL2Z3Qqi5uoN7clT1nqU82f0VBr6lmdeaMiJ3NDCw6tv5_3miqwpobtAkWIetXstz8lhDDsYIw_q-FfpjTtYR6jPffuZGEyi_b6rDQci43GG0X8wUEqSqdI2M3A/s749/2006.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="749" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTC78JGwtQKswmhXDyM1EYwT38x2Bb6mFSedIoo1w9nJ7Nk-Y56miHn8RaJFwtL2Z3Qqi5uoN7clT1nqU82f0VBr6lmdeaMiJ3NDCw6tv5_3miqwpobtAkWIetXstz8lhDDsYIw_q-FfpjTtYR6jPffuZGEyi_b6rDQci43GG0X8wUEqSqdI2M3A/w543-h362/2006.jpg" width="543" /></a></span><span style="font-size: 11pt; text-align: left; white-space-collapse: preserve;"> </span></div><p></p></div></span></div><div style="text-align: left;"><div style="text-align: left;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><span id="docs-internal-guid-5c17e19e-7fff-b5fb-a09c-a2b5c9498de9"><span style="font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 700; vertical-align: baseline;">Post-note</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><span style="font-family: arial;"><br /></span><div style="text-align: justify;"><span style="font-family: arial;"><span style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;">Carrying on the Memphis soul-pop tradition is Chilton’s Big Star bandmate Jody Stephens. In 2023, Those Pretty Wrongs released their third album </span><span style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;">Camp Holiday</span></span><span style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><span style="font-family: arial;"> which was overlooked by many including myself. Further listening reveals the Big Star spirit with striking lyrics, soaring harmonies and memorable pop songs like “Paper Cup.”</span> </span></div></span></span></span></div></div><div style="text-align: left;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span></div>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2059385073/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2335577754/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://prettywrongs.bandcamp.com/album/holiday-camp">HOLIDAY CAMP by Those Pretty Wrongs</a></iframe>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-76848921505872576982024-01-19T09:26:00.000-08:002024-03-03T18:00:21.030-08:00Human Switchboard-Who's Landing in My Hangar?<div style="text-align: justify;"><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilZZXOrJlvRE0Bq_81gXOJ43sknurnBeS1RulzJApcN8yfcWjy4kw0CFPA10DpYGJCG5F4Uqim1Mxi59T1Xo9jRB2QhNrSWT5Gd8ESTGW3H6A6Yzl_AazxKuDHca7PG7Ehl1exm-xDxysIzmWNECXGyRcFsS0y7eFqHtoMlhGOjmnYSvUGgJetZA/s1200/hanger%20album.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilZZXOrJlvRE0Bq_81gXOJ43sknurnBeS1RulzJApcN8yfcWjy4kw0CFPA10DpYGJCG5F4Uqim1Mxi59T1Xo9jRB2QhNrSWT5Gd8ESTGW3H6A6Yzl_AazxKuDHca7PG7Ehl1exm-xDxysIzmWNECXGyRcFsS0y7eFqHtoMlhGOjmnYSvUGgJetZA/w400-h400/hanger%20album.jpg" width="400" /></a></div><span face="Arial, sans-serif" style="font-size: 14.6667px; white-space-collapse: preserve;"><br /></span></div><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">For some reason, Human Switchboard has eluded me in that I had not previously heard their music until 2024. Despite reading good things about them, I was somehow under the impression they were much more of a new wave synth rock outfit that played with a cold detachment...like a more arty Human League or a more melodic Human Sexual Response. I recently happened upon their first and only album </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Who's Landing in My Hangar? </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">in a stack of donated records that actually included reissued </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">White Light/White Heat</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> by the Velvet Underground and Captain Beefheart’s</span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> Safe As Milk</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">. Their prominent use of the Fafisa struck me hard and fast like hearing live Modern Lovers for the first time on </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Precise Modern Lovers Order</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">. Not only present were the Lou Reed-ish vocals that reminded me also of those of Brother JT from the Original Sins, but also the most welcomed counterbalancing female vocals in the realm between Maureen Tucker and Chrissie Hynde. I also thought they were born and bred in the skyscraper canyons of New York City and shared sidewalks with Warhol. While they made their waves on the live front both opening for the likes of <a href="https://wendy-city.blogspot.com/2024/03/alex-chilton-ocean-club-77-more.html" target="_blank">Alex Chilton</a> and headlining in the New York City area (e.g.., CBGB’s Danceteria, Hurrah, Maxwell’s, Max’s Kansas City, Peppermint Lounge) their time spent growing up and living in industrial Northeast Ohio and snowy Syracuse were just as much an integral influence upon their sound. In their case, they embodied a good type of scrappy Midwestern resourcefulness</span><span face="Arial, sans-serif" style="background-color: white; color: #222222; font-size: 11.5pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> coupled with the fortitude to make it happen against the prevailing headwinds. Overall, they generated a record that both reflects and transcends their era and continues to endure.</span></div><span id="docs-internal-guid-f7419d0d-7fff-d6a0-b340-77e28e0f9868"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; font-weight: 700; white-space-collapse: preserve;">
</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; font-weight: 700; white-space-collapse: preserve;">Worth the Excitement</span></p><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><div style="text-align: justify;"><span style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;">Who's Landing in My Hangar? </span><span style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;">displays not only their vast versatility, but also their command to cast moods across the record, along with expressing a spillway of emotions within the songs themselves. While their sound touches upon street rock, art punk, soul, garage and power-pop, they are ultimately singular, complex and uncategorizable. In other words, despite the genre hopscotching, they retained their consistent character across their recordings.</span></div><div style="text-align: justify;"><span style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><br /></span></div><div style="text-align: justify;"><span style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVmNbmGHZxZ5ptcVraBeHxGuC3tX_EikVOFh6MlZ1VTa-kVIyB0oVqyvUlvuUv0ldS4Pf8a2AgCHIHUyDLC5sxp-XTg1B9tBfLZnwbiYP8TpGT7ZrbOgCjHKVRKkB6GnOwC8P0FypcJqwmW-i80doYARS6z4YCKKrG7v-xfi7Sf949u_sPfoYZYg/s4608/Lou%20Reed.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3456" data-original-width="4608" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVmNbmGHZxZ5ptcVraBeHxGuC3tX_EikVOFh6MlZ1VTa-kVIyB0oVqyvUlvuUv0ldS4Pf8a2AgCHIHUyDLC5sxp-XTg1B9tBfLZnwbiYP8TpGT7ZrbOgCjHKVRKkB6GnOwC8P0FypcJqwmW-i80doYARS6z4YCKKrG7v-xfi7Sf949u_sPfoYZYg/w523-h393/Lou%20Reed.JPG" width="523" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">From the Other Music documentary</td></tr></tbody></table>
</span></div></span><div style="text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; font-weight: 700; white-space-collapse: preserve;">Another View</span></div><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><div style="text-align: justify;"><span style="font-size: 11pt;">Most of all, they drew from the depths of the Velvet Underground and made an exalted sound of their own that connected to the stripped down, yet not thin or threadbare essence that I frequently value in music. Behind the wall of guitars and brimming keyboards, their rhythm section also exhibited the push-and-pull of the early Talking Heads. </span></div></span><div style="text-align: justify;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><div style="text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; font-weight: 700; white-space-collapse: preserve;">Who Put the Bomp?</span></div><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><div style="text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Additionally, Human Switchboard appeared on the 1979 Bomp compilation <i><a href="https://www.discogs.com/release/2547790-Various-Waves-An-Anthology-Of-New-Music-Vol1-January-1979" target="_blank">Waves (An Anthology Of New Music Vol.1)</a></i> and reminded me of being on a similar wavelength of what the Last were doing on their second album </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Look Again </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">when Vitus Matare’s Farfisa keyboards rose to the forefront. </span><span face="Arial, sans-serif"><span style="font-size: 11pt; white-space-collapse: preserve;">Perhaps only Seymour Stein could match Bomp’s <a href="https://wendy-city.blogspot.com/2017/11/greg-shaw.html" target="_blank">Greg Shaw</a> when it came to prospecting powerful and lasting pop during the ‘70s.</span></span> <br /><br /></div><div style="text-align: center;"><span face="Arial, sans-serif"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL6X0JVKxEnYR9L9nUO-rcuyk2oL-L6nQSV6zfSc0vCPQRPiBIPa3li4qUSJfUz8znH4cK7jEqL2V87gqPIYwyffiZIidsh74CginwE1ySZOOZ6wa071vQtG-NVFX8MZy0bF7SOXHi9wNZDsGsqntChHc6O6JBnZ-YNVH_On9IwncLoFuyJOTgSA/s469/myrna.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="313" data-original-width="469" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL6X0JVKxEnYR9L9nUO-rcuyk2oL-L6nQSV6zfSc0vCPQRPiBIPa3li4qUSJfUz8znH4cK7jEqL2V87gqPIYwyffiZIidsh74CginwE1ySZOOZ6wa071vQtG-NVFX8MZy0bF7SOXHi9wNZDsGsqntChHc6O6JBnZ-YNVH_On9IwncLoFuyJOTgSA/w457-h306/myrna.jpg" width="457" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Myrna Marcarian (keyboards) & Bob Pfeifer (guitar)</td></tr></tbody></table></span></div><div style="text-align: justify;"><span face="Arial, sans-serif"><span style="font-size: 14.6667px; white-space-collapse: preserve;"><br /></span></span></div><div style="text-align: justify;">
<span face="Arial, sans-serif"><span style="font-size: 14.6667px; white-space-collapse: preserve;"><b>Complementary Contrasts</b>
<div style="text-align: justify;">One of their innate abilities was their ability to make discontent flow seemingly. This particular ability could be said to be the highest fulfillment of the promise of the new wave movement. Behind this musical dichotomy are the dueling identities of Myrna Marcarian and Robert Pfeifer. Combinations of absence/presence, straightforwardness/circuitousness and clarity/dissonance are some of the dynamics at play. It works like the epiphany when an art teacher imparts the concept of negative space and the physical and spiritual world momentarily snaps into place.</div></span></span></div></span><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/1oRTsW8lci4" width="320" youtube-src-id="1oRTsW8lci4"></iframe></div><div style="text-align: center;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><div style="text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; font-weight: 700; white-space-collapse: preserve;">Urban Core</span></div><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><div style="text-align: justify;"><span style="font-size: 11pt;">Leading off is the majestic “(Say No to) Saturday’s Girl” that is almost a response song to Blondie’s “Sunday Girl” mixed in with some Lulu and Lesley Gore loveliness. The frantic “Who’s Landing In My Hangar?” features Marcarian’s pronounced organ stabbing in a good way as she takes it to the edge against the rush of Pfeifer’s “New York Subway” spiraling guitar. “In This Town” is their Lee Hazlewood and Nancy Sinatra moment, albeit with lyrics expressing the cold indifference of the city. Further, their songs retain their insurgency, while capturing the ominous feelings of an unraveling New York and the bleak drabness of Cleveland of the time. To start side 2, Marcarian steps back up to take lead vocals on “I Can Walk Alone.” The sweeping song is a personal manifesto and declaration of fortitude set to an indelible melody.
<div style="text-align: justify;"><span style="font-size: 11pt; text-align: center;"> </span></div></span></div></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><div style="text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; font-weight: 700; white-space-collapse: preserve;">Despite all the Computations</span></div><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><div style="font-family: Arial, sans-serif; font-size: 11pt; text-align: justify; white-space-collapse: preserve;"><span style="font-size: 11pt;">In retrospect, the full focus should have been on Myrna Marcarian as she co-composed their two best standalone songs ”(Say No to) Saturday Girl” and “I Can Walk Alone.” However, to fully appreciate the light, one must obviously have contrast with the darkness. While “Don’t Follow Me Home” does hinge to the Doors a little too closely, it does resolve with sweetness and light courtesy of countervailing backing vocals from Marcarian. The jaunty “Book on Looks” tilts towards the superrock of the Fleshtones. Pfeifer continues to deliver his confessionals and character studies with deadpan vocals that hover between art skronk, bursts of squalling sax and perpetual motion to where the light breaks.</span></div><div style="font-family: Arial, sans-serif; font-size: 11pt; text-align: justify; white-space-collapse: preserve;"><span style="font-size: 11pt;"><br /></span></div><div style="font-family: Arial, sans-serif; font-size: 11pt; text-align: justify; white-space-collapse: preserve;"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 11pt; font-weight: 700;">Casting Their Spell</span></p><span style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;">Live video footage shows their conviction and compassion for what they did as Myrna Marcarian is beyond convincing with her strident vocals and arresting keyboard playing. She is indeed a colorful focal point who brought in an advanced pop awareness and humane presence that clashed and converged with the street level sensibility of Bob and the sparks and shards flying off his guitar. He certainly knew his way around the guitar and the interplay with Marcarian’s Farfisa organ is an essential element to their amalgamated sound. Live footage also reveals drummer Ron Metz played in a similar rangy fashion as <a href="https://www.washedupemo.com/news/2023/31/211-john-dugan-chisel" target="_blank">John Dugan</a> of <a href="https://chisel.bandcamp.com/album/set-you-free" target="_blank">Chisel</a>. </span></div><div><span face="Arial, sans-serif" style="font-size: 14.6667px; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/mqDa7W9OSx4" width="320" youtube-src-id="mqDa7W9OSx4"></iframe></div><div style="text-align: center;"><br /></div></span></div></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><div style="text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; font-weight: 700; white-space-collapse: preserve;">Future Shock</span></div><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><div style="text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; white-space-collapse: preserve;">Their sound did get glossier as the ‘80s ensued and 1983 Polydor demos revealed somebody (that is John Stainze) was trying to possibly shine them up to be an American answer to Culture Club. (For the record, I do enjoy Culture Club.) Still, <a href="https://www.youtube.com/watch?app=desktop&v=Ga_eVGLcJAg" target="_blank">“A Lot Of Things”</a> is an all-around captivating pop song that benefits from the studio polish as well as being reminiscent of the Bangles at their best. On these later recordings, Pfifers’ quavering voice goes less Lou Reed and more in the direction of solo Mick Jagger or solo David Johansen. Your mileage may vary as some listeners do indeed enjoy this late phase in which Marcarian’s signature Farfisa sound is replaced by a Korg.</span>
<div style="text-align: center;"><span face="Arial, sans-serif" style="font-size: 14.6667px; white-space-collapse: preserve;"><br /></span></div></div></span><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVC0Z63Vagl_pxljUE88Q19sF93LmamWi2CUBIwsQoDiD3bpezfWw3cv8rJUvHY5aYZn-QCkfmSwbqPVsppgGoKh4z6CAAZNR23t2ie7lAC2gZkYjrppuX9iK4A1HTMYo3Zg15_tQVTH24Gjr5jTQrDmayjWO_Lb-HcYYSuFWUKaLRj8p_4ov3PA/s750/Human%20Switchboard%20Anthology.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVC0Z63Vagl_pxljUE88Q19sF93LmamWi2CUBIwsQoDiD3bpezfWw3cv8rJUvHY5aYZn-QCkfmSwbqPVsppgGoKh4z6CAAZNR23t2ie7lAC2gZkYjrppuX9iK4A1HTMYo3Zg15_tQVTH24Gjr5jTQrDmayjWO_Lb-HcYYSuFWUKaLRj8p_4ov3PA/w400-h400/Human%20Switchboard%20Anthology.jpeg" width="400" /></a></div><div style="text-align: center;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 700; vertical-align: baseline; white-space-collapse: preserve;">Ripple Effect</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><div style="text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">The 1981 album caught them at the peak of powers in a run that spanned from 1977 to 1984. Be sure to check out some of their compelling early garagey material that appeared on</span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> Who's Landing in My Hangar? Anthology 1977-1984</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> CD from 2011. The slinky “I Gotta Know” and “San Francisco Nights” deserve special mention as the former features Myrna on the glockenspiel and connects Girl Group pop to Paul Revere & the Raiders, while the latter is a Robert Pfeifer standout inspired by the Pickwick Poet Lou Reed. </span></div><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><div style="text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">
<b>Making the Connection</b>
They were also the little band that got raved about by big acts like <a href="https://wendy-city.blogspot.com/2021/09/lightning-strking-ten-transformative.html" target="_blank">Lenny Kaye</a>, Elvis Costello, the Beastie Boys, and Kurt Cobain (how did he hear so many records in his short 27 years?). Their sound would go on to influence not only the Feelies, Yo La Tengo and indie-popsters like Saturday Looks Good to Me and <a href="https://lewsberg.bandcamp.com/album/out-and-about" target="_blank">Lewsberg</a>, but also the multitudes of garage bands now treated with indifference like <a href="https://wendy-city.blogspot.com/2018/12/never-fitting-in-with-any-sub-strata.html" target="_blank">the Kent 3</a>. Living up to the promise of new wave is what sets this group and record apart from so many others. Consequently, </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Who's Landing in My Hangar? </span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><span face="Arial, sans-serif" style="font-size: 11pt; white-space-collapse: preserve;">will reveal itself to the listener in its own time-even if it takes 42 years.
<br /></span></span></div><div style="text-align: justify;"><div style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr22U1igV2dOrQ4F3cyKiXGy7A1gC1MEyiTwQJ4tOReQazKIKMjBPQ5jzZE0NzR2V3G0M-Vzpm6W-LbnygGckFgmpCyh-J5AaDz7xbFW2zxvHug5piPjTC00drE8BuvscjvzxaGOk_Y2FEEoDLB0muRGqHa_-fRzoB5zBINZSzlSHI8zFYZHzpig/s1200/group.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="840" data-original-width="1200" height="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr22U1igV2dOrQ4F3cyKiXGy7A1gC1MEyiTwQJ4tOReQazKIKMjBPQ5jzZE0NzR2V3G0M-Vzpm6W-LbnygGckFgmpCyh-J5AaDz7xbFW2zxvHug5piPjTC00drE8BuvscjvzxaGOk_Y2FEEoDLB0muRGqHa_-fRzoB5zBINZSzlSHI8zFYZHzpig/w485-h340/group.jpg" width="485" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ron Metz (drums), Myrna Marcarian (keyboards) & Bob Pfifer (guitar)</td></tr></tbody></table><br /></div></div></span><p></p></span>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-22005874525742704452023-12-26T10:51:00.000-08:002023-12-26T10:54:18.498-08:00Favorites of 2023<p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href=" https://cutworms.bandcamp.com/album/cut-worms" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDT8M2P123atIsul9Xj0K_fRcbbD-ZfksQTjmQabY-7ErHQLE-rbJAuwEKiUmQ6oOihy8l1_l_w1yzLefjEqQYm35d_WsWXmCMTKbKMNuJnRPxAN0xHF_SKhrkb_6T_QPv0nhBItKBvJLHA9wyWVcEKFsywm-5u8kIJMZnTT2pyaF46CGkBE-wVQ/s320/cut%20worms.jpg" width="320" /></a><br /><span style="text-align: left;"> 1. Cut Worms-Cut Worms</span></div><div style="margin-left: 1em; margin-right: 1em; text-align: center;"><a href=" https://thefreezinghands.bandcamp.com/album/empty-the-tank-2" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzefSw3QtLhLGQG9jqaCDghUZr6Ik5VW8d0tjpokDJvdsaxbUHilbmpGCF42oMVctInctJBcB_ElKVbFHctIbW__yiptgXOzfoPU4zA4CtOaNX6iDhobEv9gQvcRyJq25ymjq31q4NluTz6gBe6DP7f8EF4AOh2ZLOvfY8P5lycI_3W_RcqdqOpg/s320/freezing%20hands-empty%20the%20tank.jpg" width="320" /></a><br />2. <a href="https://wendy-city.blogspot.com/2023/10/freezing-hands-empty-tank.html" target="_blank">Freezing Hands-Empty The Tank</a><br /></div><div class="separator" style="clear: both; text-align: center;"><a href=" https://thefeelies.bandcamp.com/album/some-kinda-love-performing-the-music-of-the-velvet-underground" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuQqyD2YB5nulSUbxizaoX1OrzfEJmzObzf9fKDQfju9H1U7Bm6FDa0dvwruWPTLej0hFPTQ2nxp95jo4SBKFhcb_akEpfM6IfEKa89vPxtL-NhpqbI2SFO5UOUDKg2_hF7Bq5C5CK4NEbg6bB_eMZqIJQsd6TDPkqnIEaLEzXbjG9F8p5ldQ6_g/s320/feelies-some%20kinda%20love.jpg" width="320" /></a><br />3. The Feelies-Some Kinda Love<br />Performing the Music of The Velvet Underground<br /></div><div class="separator" style="clear: both; text-align: center;"><a href=" https://curation-records.bandcamp.com/album/buy-this-now" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgixEelx3Z5X9IW2SijdoxhblP00udBfklWj-b2zBqQvInhcRRFrUXdwSjXtW6w17UngVH97g8ckETkNKWyI1J6RbS3m-y90iGm3geAa1MuUoT9tCbcZ1HfXLGAwGQONU50TyIxeIbtIJJsfzFLrgt46DiiutZz_zHgIip0XhyH-0wXL2LTpa60pQ/s320/uni%20boys-buy%20this%20now.jpg" width="320" /></a><br />4. Uni Boys-Buy This Now!<br /></div><div class="separator" style="clear: both; text-align: center;"><a href=" https://loganledger.bandcamp.com/album/golden-state" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1bwsZ1WBmlyi0XmspDks-vz-91_LGyzX7C2nZA_dAcnjhlwme7xaAOyRz7facbvBHjhFQH2bxYlbexx-jKvXw7KJFCZWO1rZz8yqIcJs86goquAIzqxMxiF0dfg8yTTRrcO3K5sjem__O6rsS1cwHvtWaF63xuiJps3fRbcmjNi3ZBsclvdE2yQ/s320/logan%20ledger.jpg" width="320" /></a><br />5. Logan Ledger-Golden State<br /></div><div class="separator" style="clear: both; text-align: center;"><a href=" https://www.youtube.com/watch?v=G4HdEltK7JI&list=OLAK5uy_l6Nny_Liln31Gvih_HLsWIGt8ZB0eZmOM" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_30Z3U9esQ_zm02D-a_hU7in4VBH2Pt8QRpcYetj_wLDXtipoIK4jlIHVPl5SY9T5PHrIQ1HUfSmffaUF5m58NfK3K9p4ABEveyvM2p-5qGdbs17f4TI39cfSfYbBl8ihN06djZSp3R7SyXeQuum0YaeoFlkuHCFD3hzu2o762AOnYweaLUwbYQ/s320/highmarts-world%20tour.jpg" width="320" /></a><br />6. <a href="https://wendy-city.blogspot.com/2023/08/the-highmarts-world-tour-greatest-hits.html" target="_blank">The Highmarts-World Tour</a><br /></div><div class="separator" style="clear: both; text-align: center;"><a href=" https://thelongryders.bandcamp.com/album/september-november" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnz9lTDuGgPhd1qb6NqQPSsK1Ea93pzy_FPphUUlt_DJZuYtiEW0wccUWZXuQwbea8d6f2CHglE_e_BH8tDIC0ykL98xxIuBiTAgw2qlWWX3f1ecJKSIsEr_43OzyuocC2XRqs8doI0oJm6z5S-T1SqPHHCHgBoJC8IkcHEJei6v_EUd_TZqmhnA/s320/long%20ryders.jpg" width="320" /></a><br />7. The Long Ryders-September November<br /></div><div class="separator" style="clear: both; text-align: center;"><a href=" https://thewrongsociety.bandcamp.com/album/down-with" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXaIu1z3L-iQ4_N7VPI8iIBkQaiyTxFRoZ4J66mDrFQPyGXTcGBwOFQZs4u3reJ6fjsPrJ8c-qRzea0KQL28BJ7hFSIM92aBtMSjjVjsiaQS8Myy8c9OGEcbFxWwe5KtGraHSioebaxpNkZ71QJpP3hEuWbPEwVpjg5Ic6Hml_JhLerAaYp4AZgA/s320/wrong%20society.jpg" width="320" /></a><br />8. The Wrong Society-Down With<br /><br /><u style="font-family: arial;"><b>Reissues & Collections</b><br /></u><div class="separator" style="clear: both; text-align: center;"><a href=" https://azmusicdude.com/leroy-fullylove-the-tads-your-reason/" style="font-family: arial; margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1384" data-original-width="1500" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF49CNFINkFbmDwa7_Gr8RoMmkdGil0DSS8HINZONT4SybMco5LEKRXOKYqs4D2sBj6CKmDiT9Qo_vAciVlZH6sGFsmX_VrEvf6-Gxioq0PyGqDN4n0RSSYeMxL_Pdw8f9K9sH4Kz6GO3ZnBWmNIeY446OpzxqjIqzSERfglpJxu2ERrA-Ojx5rQ/s320/tads.jpg" width="320" /></a><br />1. <a href="https://wendy-city.blogspot.com/2023/05/desert-edges-of-doo-wop.html" target="_blank">Leroy Fullylove and the Tads-Your Reason</a><br /></div><div class="separator" style="clear: both; text-align: center;"><a href=" https://bbemusic.bandcamp.com/album/now" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2kyf1_4_bs7j7pLSaxTZcQ61mlWoq50hz2XPrZP-1RGopIk0JymGfE2Lg0OAiEjzYqjhLnfIQSJndlexPp6Z_4jHDa-xVXml6ru10pmGaGsvEwfYrdTiYfUeZ5tHML0wdgpfz-PsIWoadfZZP9P0cry0u4UBaqWLVoLUEUtBJU57nhn3VYDpxUA/s320/astrud%20gilberto.jpg" width="320" /></a></div>2. Astrud Gilberto-Now<br /></div>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com1tag:blogger.com,1999:blog-29147952.post-4008747279736866942023-12-17T07:01:00.000-08:002023-12-21T16:34:07.188-08:00 Doré L.A. Soul Sides / Doré L.A. Soul Sides 2<p style="text-align: center;"><span face="Arial, sans-serif"><span style="font-size: 14.6667px; white-space-collapse: preserve;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span face="Arial, sans-serif"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglDCTtkGBCyouosmGlOLcufqhwEiLP_cX00UegzucJ2Z-ejMLR0EjceBM9YmWQ5u8jKSbTyN_vWxhyD4gvVTiGjiC7EKqZIukC328CFahEhCePIQLfV5lgqEQexnYjKrO5m2x-wr-pL3M2zgcBn26It8Zz7fDM0BVE5XZAELtxcW0mXLcy7NMmoQ/s700/front%20cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglDCTtkGBCyouosmGlOLcufqhwEiLP_cX00UegzucJ2Z-ejMLR0EjceBM9YmWQ5u8jKSbTyN_vWxhyD4gvVTiGjiC7EKqZIukC328CFahEhCePIQLfV5lgqEQexnYjKrO5m2x-wr-pL3M2zgcBn26It8Zz7fDM0BVE5XZAELtxcW0mXLcy7NMmoQ/w400-h400/front%20cover.jpg" width="400" /></a></span></div><span id="docs-internal-guid-dec48be6-7fff-385e-d51f-115eaaf0acb0"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><p style="text-align: justify;"><span style="font-family: arial; font-size: 11pt; text-align: left; white-space-collapse: preserve;">The rise of the Doré label coincided with Los Angeles’ ascent as an epicenter in the U.S. recording industry. Along with Era, Del-Fi, GNP Crescendo, Dot, Specialty and Imperial, Dor</span><span style="font-family: arial; font-size: 14.6667px; text-align: left; white-space-collapse: preserve;">é</span><span style="font-family: arial; font-size: 11pt; text-align: left; white-space-collapse: preserve;"> was part of the scrappy, enterprising and vibrant Los Angeles independent rock ‘n’ roll scene before the major labels (RCA Victor, Columbia, Capitol, Warner Bros.) became truly established and entrenched on the West Coast. </span></p><span id="docs-internal-guid-cfacc528-7fff-0c60-964b-e9defbda7319"><p style="text-align: justify;"><span style="font-family: arial; font-size: 11pt; white-space-collapse: preserve;">Lewis Bedell’s Dor</span><span style="font-family: arial; font-size: 14.6667px; text-align: left; white-space-collapse: preserve;">é</span><span style="font-family: arial; font-size: 11pt; white-space-collapse: preserve;"> Records started as a subsidiary of Era Records in 1958. In the shadows of the Capitol Records tower, Dor</span><span style="font-family: arial; font-size: 14.6667px; text-align: left; white-space-collapse: preserve;">é</span><span style="font-family: arial; font-size: 11pt; white-space-collapse: preserve;"> operated in the heart of Hollywood at Sunset & Vine. In its early stages, the label was known for its numerous pop, <a href="https://wendy-city.blogspot.com/2023/05/desert-edges-of-doo-wop.html" target="_blank">doo wop</a> and novelty flops. However, a fortuitous turn of events occurred with the arrival of Phil Spector with his group the Teddy Bears to the label. “To Know Him is to Love Him” was Spector’s breakthrough that went on to become a worldwide hit and an enduring classic. Dor</span><span style="font-family: arial; font-size: 14.6667px; text-align: left; white-space-collapse: preserve;">é</span><span style="font-family: arial; font-size: 11pt; white-space-collapse: preserve;"> was also the launchpad label for Jan & Dean. In addition, both Lew Adler (Dunhill & Ode Records) and Herb Albert (A&M Records) began their legendary music industry careers at Dor</span><span style="font-family: arial; font-size: 14.6667px; text-align: left; white-space-collapse: preserve;">é</span><span style="font-family: arial; font-size: 11pt; white-space-collapse: preserve;">. By the mid-sixties, Lew had the foresight to detect that soul music was the only style that could withstand the onslaught of the British Invasion and the Beatles. </span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOpsHegx5ZjK9-tQwX9UAD270grbSuJlzsSb42J7TyVouRNdGWV7gXeHJRVwxB0yDOtWJM_GtbbO6C8ER36eKhmfLQ1JeFuVDovygRUEvxsFG7iNtzHCGyc7ONbGSp3RW8yH6UHerRsQSLkfNtYpgFR2E_6kf_Bd1JzPfwbWPy7U6gSLo5Fzd9QQ/s707/lewb.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="707" data-original-width="425" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOpsHegx5ZjK9-tQwX9UAD270grbSuJlzsSb42J7TyVouRNdGWV7gXeHJRVwxB0yDOtWJM_GtbbO6C8ER36eKhmfLQ1JeFuVDovygRUEvxsFG7iNtzHCGyc7ONbGSp3RW8yH6UHerRsQSLkfNtYpgFR2E_6kf_Bd1JzPfwbWPy7U6gSLo5Fzd9QQ/w240-h400/lewb.JPG" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lew Bedell-1969</td></tr></tbody></table><p style="text-align: left;"></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">The collection opens with the lush and lavish “It Only Hurts for a Little While” by the Whispers, </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">which was recorded at Gold Star Studios with the booming sonics bolstered by such session giants as Hal Blaine, Tommy Tedesco and Jules Wechter. “Baby’s Gone Away” by the Superbs features Eleanor Greene on lead vocals, who would </span><span face="Arial, sans-serif" style="background-color: white; color: #0f1111; font-size: 10.5pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">later become known as Eleanor May after her marriage to Los Angeles Angels baseball pitcher <a href="https://en.wikipedia.org/wiki/Rudy_May" target="_blank">Rudy May</a></span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">. Sweet, smooth and spacious vocal harmonies come to the fore on this 1965 single. Eleanor was also involved with the Shade of Jade whose ”Why Does It Feel So Right (Doing Wrong)” sounds like it should have been a 1968 hit as well as almost foreshadowing 1971’s “Mr. Big Stuff” by Jean Knight.</span></span></p><span style="background-color: white; color: #0f1111; font-family: arial; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><div style="text-align: justify;"><span style="font-size: 14px; white-space-collapse: preserve;">
</span><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvz_KpZXMPWBZZtmr2bQbGwwcE6lAqhxGziUpuCTXmymmTtaLU4yaIR7XxUfVSx1GRKwvvj7caps_r3q_xidNoSioG_K-7AgWiynOmnmXlEuUT-JMR3jRRLK-KGGtIUS8KOSE_71tnNKPFE1M5Ngirddv90VPgZpEsI2LKV_Aut6AOHt4bnC3neQ/s547/superbs.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="372" data-original-width="547" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvz_KpZXMPWBZZtmr2bQbGwwcE6lAqhxGziUpuCTXmymmTtaLU4yaIR7XxUfVSx1GRKwvvj7caps_r3q_xidNoSioG_K-7AgWiynOmnmXlEuUT-JMR3jRRLK-KGGtIUS8KOSE_71tnNKPFE1M5Ngirddv90VPgZpEsI2LKV_Aut6AOHt4bnC3neQ/w475-h324/superbs.JPG" width="475" /></a></div></div></div></span><p style="text-align: left;"></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">“Family Man” by Slim & the Twilight might be a blatant rip off of “Mother-In-Law” by the Ernie-K-Doe, but it’s also from the pen of <a href="https://en.wikipedia.org/wiki/Russ_Regan" target="_blank">Russ Regan</a> who had a legendary career in the music industry starting in promotions with Motown before later presiding over Uni Records. “Family Man” would also have been an apt cover in the age of Peter Zaremba's Love Delegation.</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial;"><br /></span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: arial;">The Superbs appear again with “On a Day When It's Raining.” It’s an easy going atmospheric record that showcases their effervescent vocal group harmony. The Natural Resources were sort of a Dor</span></span><span style="font-family: arial; font-size: 14.6667px; text-align: left; white-space-collapse: preserve;">é</span><span style="font-family: arial; font-size: 11pt; white-space-collapse: preserve;"> supergroup and also the label’s entry in the domain of the late ‘60s psychedelic pop-soul to compete with the likes of the 5th Dimension, Friends of Distinction, Rotary Connection. In the early ‘70s, the Natural Resources would record under the name of Natural Resources Unpolluted with a sound that went deeper into the funk a la Sly Stone & the Family Stone. </span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">
</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"></p><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijWHXCHP5i8LIZmyZRqwfAWkYUrxO_2WQvJS5miE9NdDft1pN9TnePWBr2_4xQyNn6MsTckiJNVugu5FPRU8oYZoM0V-AOsDIA-VRICFXT47ZhEHYmrO9ifLIX03iwp6vcUYsn7WUjMajlF5DIDQoEx7TzECqWlI6jZe2oqK8Atiau0x6Mve2hHA/s878/natural%20resources.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="878" data-original-width="699" height="421" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijWHXCHP5i8LIZmyZRqwfAWkYUrxO_2WQvJS5miE9NdDft1pN9TnePWBr2_4xQyNn6MsTckiJNVugu5FPRU8oYZoM0V-AOsDIA-VRICFXT47ZhEHYmrO9ifLIX03iwp6vcUYsn7WUjMajlF5DIDQoEx7TzECqWlI6jZe2oqK8Atiau0x6Mve2hHA/w336-h421/natural%20resources.JPG" width="336" /></a></div></div><p style="text-align: left;"></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="color: #333333; font-family: arial; font-size: 11pt; white-space-collapse: preserve;"><span style="background-color: white;"><b>Pinnacles of Mid-Sixties Soul</b></span><span style="background-color: white;"><b>
</b></span></span><span style="font-family: arial; font-size: 11pt; white-space-collapse: preserve;">The liner notes reveal “The Winds Kept Laughing“ by Betty and the Chevelles was augmented by members of the Cascades (of "Rhythm of the Falling Rain” fame). It starts off guitar driven and ramshackle before a surprise </span><span style="font-family: arial; font-size: 11pt; white-space-collapse: preserve;">turn into sweeping 1964 production pop with a musical bed that evokes “The Lonely Surfer” by Jack Nitzsche from the previous year. The Vel-Vettes’ dramatic 1966 number “You Really Never Know Until It’s Over” follows and is a charming example of the late girl-group sound on the subtle, yet soulful side.</span></p><p style="text-align: left;"></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/DUWRcwxTj6s?si=mUDfJ7eyIhlg8tLQ" title="YouTube video player" width="560"></iframe><br /><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><div style="text-align: justify;"><p><span style="font-family: arial;"><span style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;">“Gone With the Wind Is My Love” by Rita and the Tiaras contains all the </span><span style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;">de rigueur</span><span style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"> elements to make it a classic of the Northern Soul scene. The belting vocals of jazz singer Rita Graham combined with a captivating backing track by the Tiaras lifts this one over the top. </span></span><span style="font-size: 11pt;"><span style="font-family: arial;">Little Johnny Hamilton & the Creators’ “Oh How I Love You” is another stomper blaring with horns and bursting with building energy. In my imagination, I can also hear this covered by <a href="https://en.wikipedia.org/wiki/The_Action" target="_blank">the Action</a> and ? and the Mysterians. Further, prepare yourself for an instrumental break on par with Ramsey Lewis. </span>
</span></p></div></span></span><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"></p><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqEbLhGlid2pLXTVMuoQamal2f0ZLabWlf93jKCW5BA1pE-aDhCFJnHCKDNb_7bR9muJYIFMegcllOD6yROay69dKyP8q34oRCzxKE5b-lFypkq91zE6Nz3QOZ9D_Hhv3TtbI9ahuof5XGtMQp8KmeHerybkexFeeDAlEJd0zNinZwwXjNBIcIWw/s700/front%20cover%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqEbLhGlid2pLXTVMuoQamal2f0ZLabWlf93jKCW5BA1pE-aDhCFJnHCKDNb_7bR9muJYIFMegcllOD6yROay69dKyP8q34oRCzxKE5b-lFypkq91zE6Nz3QOZ9D_Hhv3TtbI9ahuof5XGtMQp8KmeHerybkexFeeDAlEJd0zNinZwwXjNBIcIWw/w400-h400/front%20cover%202.jpg" width="400" /></a></div><span style="font-family: arial;"><br /></span></div></span><span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Arial, sans-serif" style="background-color: white; color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: arial;">I was surprised that I hadn't previously heard “We Together Baby” by Smokey & the Bears until this compilation. This thrilling 1967 instrumental is a direct lift of “Louie Louie” blended with “Soul Finger” by the Bar-Kays to whip up an entirely new creation.
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/WTFH9FsfhlA?si=VcvaeUBIeDcu8NBu" title="YouTube video player" width="560"></iframe>
Hearing the yearning “I Want You” with its spare guitar grandeur by Dee Torres on <a href="https://wfmu.org/playlists/UE" target="_blank">WFMU’s Cool Blue Flame</a> is what initially drew me to further explore the Dor</span></span><span style="font-family: arial; font-size: 14.6667px; text-align: left; white-space-collapse: preserve;">é</span><span style="color: #404040; font-family: arial; font-size: 11pt; white-space-collapse: preserve;"> Records story beyond my Jan & Dean records. The timeless, mysterious and otherworldly song defies categorisation, while also aptly described on YouTube as an “excellent barrio ballad.” The glimmering guitar triplets flicker like candles over swells of organ to cast a sublime atmosphere.</span><span style="background-color: white; color: #404040; font-size: 11pt; white-space-collapse: preserve;"> </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Arial, sans-serif" style="background-color: white; color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">
</span></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/0NtkgJhHmEw?si=vO-ORXEqoTF9dlQm" title="YouTube video player" width="560"></iframe><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Arial, sans-serif" style="background-color: white; color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: white; color: #404040; font-family: arial; font-size: 11pt; white-space-collapse: preserve;">“I Cry Only Once a Day Now” by the Puffs is a 1966 update of a 1962 Lew Bedell composition and is done in classic girl-group fashion. The Superbs continue their role as soft soul serenaders on the second volume with “Goddess of Love.” Bobby Swayne handles the lead vocals on this sunlit soul-pop crossover. </span></p><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="background-color: white; color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">While Dor</span></span><span style="font-family: arial; font-size: 14.6667px; text-align: left; white-space-collapse: preserve;">é</span><span style="background-color: white; color: #404040; font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">’s main focus was decidedly on the soul side during the ‘60s, it surprisingly also released some garage & psychedelic records in the mid to late ‘60s. Records from this surprising phase can be heard on the </span><span style="background-color: white; color: #404040; font-family: arial; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Blow My Mind! The Doré-Era-Mira Punk and Psych Legacy </span><span style="background-color: white; color: #404040; font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><a href="https://acerecords.co.uk/-103" target="_blank">compilation</a>. <span style="font-size: 11pt;">By the ‘70s, Dore was primarily known as a comedy label and in a way it was a return to form as </span></span><span style="background-color: white; color: #404040; font-family: arial; font-size: 11pt; white-space-collapse: preserve;">Lew Bendell started in the entertainment industry as a stand-up comedian. Comedy albums by <a href="https://en.wikipedia.org/wiki/Hudson_%26_Landry" target="_blank">Hudson & Landy</a> are easy to catch in the used bargain bins here in the West. I bought <i>Hangin’ in There</i> for a buck because it was supposedly recorded at the Pomona National Golf and Country Club. I ended up releasing it back to Goodwill as their '70s humor (which dates quickly) did not do it for me. </span></p><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: white; color: #404040; font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Lew Bedell is said to be one of the good guys in the recording industry of the mid-century. He was willing to give musical aspirants a chance to transcend the quotidian and possibly achieve their artistic dreams.</span><span style="background-color: white; color: #404040; font-family: arial; font-size: 11pt; white-space-collapse: preserve;"> </span><span style="background-color: white; color: #404040; font-family: arial; font-size: 11pt; white-space-collapse: preserve;">Bedell did indeed create a conducive atmosphere for the many who recorded for Dor</span><span style="font-family: arial; font-size: 14.6667px; text-align: left; white-space-collapse: preserve;">é. </span><span style="background-color: white; color: #404040; font-family: arial; font-size: 11pt; white-space-collapse: preserve;">These records endure today because they express the wide-open possibilities of Los Angeles. Additionaly, they</span><span style="background-color: white; color: #404040; font-family: arial; font-size: 11pt; white-space-collapse: preserve;"> retain a gritty street level and small label essence now championed by archival labels like Now-Again and Numero Group and embraced by </span><span style="font-size: 14.6667px; text-align: left; white-space-collapse: preserve;"><span style="color: #404040; font-family: arial;">subsequent</span></span><span style="background-color: white; color: #404040; font-family: arial; font-size: 11pt; white-space-collapse: preserve;"> generations of listeners. These two volumes showcase the remarkable range of the label’s soul releases. Most of all, these records are still breaking through like the sun over the California coast.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: white; color: #404040; font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">
</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEl8wvXwp5D8GU21iip6sfz0KhsBVcL99p4IkFplumZtwdqUkRmdXSABtO6c3UJwG7hAVwxmY0vMLed9NmCOZuR-DyEeF9HfSbP91xDZuHJj7Y47ej_HmAxbeUuNMZcggbGfVmrHscQpKvEXAiHbQzFR8GoakrC5Ws45HttveiNGN5zIkdxKfKRQ/s571/creators.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="404" data-original-width="571" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEl8wvXwp5D8GU21iip6sfz0KhsBVcL99p4IkFplumZtwdqUkRmdXSABtO6c3UJwG7hAVwxmY0vMLed9NmCOZuR-DyEeF9HfSbP91xDZuHJj7Y47ej_HmAxbeUuNMZcggbGfVmrHscQpKvEXAiHbQzFR8GoakrC5Ws45HttveiNGN5zIkdxKfKRQ/w498-h352/creators.JPG" width="498" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Creators from Compton who backed Little Johnny Hamilton</td></tr></tbody></table><p></p></span>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-61574580732621832282023-11-13T18:12:00.000-08:002023-12-21T16:33:36.063-08:00Shirley Ellis-Sugar, Let's Shing-A-Ling / Soul Time With Shirley Ellis<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt1RIiuixDsKMOrSTI2YSVktT4Ff2uz0Fq-rZIBxI7tBBFF85WIYIyJMEpVpJ6TQYPbM1IQ-TkbDGyJ0csF64gwQS4HwLmZL48hLdEHuWmQ-RcV58s3OBuRBcUqJU4opBLdA69eNlkIXbpP6iZ1uNiT86DqXevtbSiMd-87f-0qZ5jNn8ZugX_DA/s1000/cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="982" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt1RIiuixDsKMOrSTI2YSVktT4Ff2uz0Fq-rZIBxI7tBBFF85WIYIyJMEpVpJ6TQYPbM1IQ-TkbDGyJ0csF64gwQS4HwLmZL48hLdEHuWmQ-RcV58s3OBuRBcUqJU4opBLdA69eNlkIXbpP6iZ1uNiT86DqXevtbSiMd-87f-0qZ5jNn8ZugX_DA/w393-h400/cover.jpg" width="393" /></a><br /><br /></div><span id="docs-internal-guid-73beae60-7fff-c06a-7496-09de52a5b4d0"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial; font-size: 14.6667px; white-space-collapse: preserve;">While best known for her playground diddy, “The Name Game,” which took on a life of its own and made her a household name for a brief 1965 moment, Shirley had an extensive and wide-ranging career that stretched from 1954 to 1968. Before leaving the music industry, the self-taught and unsung musician left on a strong note with this overlooked, but culminating 1967 Columbia album that put an exclamation mark on her career.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial; font-size: 14.6667px; white-space-collapse: preserve;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Arial, sans-serif" style="font-size: 14.6667px; white-space-collapse: preserve;"><span style="font-family: arial;">The opening number “Sugar, Let’s Shing-A-Ling” prompts the thought that as a dance, the shing-a-ling was probably not well known outside of discotheques and gyms of Northeast cities, until the Human Beinz mentioned it in their 1967 update of the Isley Brothers’ “Nobody But Me.” Following this grand entrance, is the swaying sweet soul of “Back Track” which was co-composed by fellow Columbia Records labelmate (at that time) <a href="https://www.youtube.com/watch?v=5-DT6BfTOk0" target="_blank">Lou Christie</a>. </span>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/UkWBNuf7O4g?si=hk6pxX9-Bnm-AnDj" title="YouTube video player" width="560"></iframe>
</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><br /></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Her powerful composition “Soul Time” will get you right back on the dance floor and as can be predicted, it’s an enduring classic on the Northern Soul scene. “Soul Time” would also later be reworked by Madeline Bell, just a few months after Shriley’s release. It was also covered in 1968 by <a href="https://www.youtube.com/watch?v=PlWN_oR0MHE" target="_blank">the Mystics</a>-Hong Kong’s only ‘60s soul group comprised of musicians of Portuguese and Cantonese descent! While “Soul Time” only reached #67 in the U.S., Filipinos recognized the record has what it takes and more and it went all the way to #4 in the Philippines. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1PM1coabpAlugcX0WeG-W1njODUaANB0p6PM3XhqfNzY11dMk5EuB9OEuaztvjuyGgmL1_iMpLO73sOH935uQseBwNSEda35O3xParP01vGKk8TicrsrzKZLfRBaGT1IJRD5hRmLWMPKGezTV8ieIR5-LTtG8-5uuq3Y6i_goRq3lh7ACy55suw/s564/french%20ep.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="564" data-original-width="527" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1PM1coabpAlugcX0WeG-W1njODUaANB0p6PM3XhqfNzY11dMk5EuB9OEuaztvjuyGgmL1_iMpLO73sOH935uQseBwNSEda35O3xParP01vGKk8TicrsrzKZLfRBaGT1IJRD5hRmLWMPKGezTV8ieIR5-LTtG8-5uuq3Y6i_goRq3lh7ACy55suw/w374-h400/french%20ep.JPG" width="374" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">French EP featuring the photography of Sandy Speiser</td></tr></tbody></table><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">The album features stunning and striking photography from <a href="https://www.discogs.com/artist/554188-Sandy-Speiser" target="_blank">Sandy Speiser</a>-an in-house photographer for Columbia Records who warrants further investigation. Also glaring, are the uncredited studio musicians and backing singers whose contributions are lost to the mysteries of history or until the surfacing of recording sessions contracts. Overall, contextual information is scant beyond the fact the album was produced & arranged by <a href="https://en.wikipedia.org/wiki/Charles_Calello" target="_blank">Charlie Calilleo</a>. (On a side note, when Shirley performed live at New York’s <a href="https://en.wikipedia.org/wiki/Basin_Street_East" target="_blank">Basin Street East</a> in 1965, she was backed by Mitch Ryder’s Detroit Wheels who were called out for not knowing her material by </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Billboard’s</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> Herb Wood in a live review.)</span></span></p><div><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfM6yNVDbtCKodaFsi2iPw7eHWfaSFRTGCIco2AxLjeq7chTI3WQUkdsmYnpvMhWvocWckCAZb1ftBt4HsEtH5eq6juXQGKuFJF8azFD3WIh-7klOXLF7bdnVf0Ery_TVfNhB9HbHaG04FBean39xOgZk65AvntLD6LRDbcvGVFIsIPUbCuKmQBQ/s760/jet-june%2015-67.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="760" data-original-width="547" height="622" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfM6yNVDbtCKodaFsi2iPw7eHWfaSFRTGCIco2AxLjeq7chTI3WQUkdsmYnpvMhWvocWckCAZb1ftBt4HsEtH5eq6juXQGKuFJF8azFD3WIh-7klOXLF7bdnVf0Ery_TVfNhB9HbHaG04FBean39xOgZk65AvntLD6LRDbcvGVFIsIPUbCuKmQBQ/w448-h622/jet-june%2015-67.JPG" width="448" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Jet Magazine-</i>June 15, 1967</td></tr></tbody></table><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial; font-size: 11pt; white-space-collapse: preserve;">It might seem she ventured a little away from her stock-in-trade pop soul sounds on this album, however Ellis was always adventurous and not afraid to cross genres. The beauty from the Bronx first started singing with the jazz-calypso combo the Metronomes in 1954. A decade later, she realized her first hit with the </span><span style="font-family: arial; font-size: 11pt; text-align: left; white-space-collapse: preserve;">unvarnished “The Nitty Gritty,” that successfully employed crowd sounds effects like “Fingertips-Part 2” by Little Stevie Wonder. George Harrison was said to be a fan of this live-wire record and it was later covered by the Hollies. She would follow by recording<span style="text-align: justify;"> a dashing and Latin-inflected cover of </span><a href=" https://www.youtube.com/watch?v=GbaomEeXQ1s" style="text-align: justify;" target="_blank">“Stardust.”</a><span style="text-align: justify;"> </span>
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Yes, this album is a slight shift in direction and sophisticated turn towards the supper club scene, but it also showcases her aforementioned versatility. “How Lonely is Lonely” certainly spotlights Ellis' magnetic and compelling qualities that would certainly translate to 1966 Atlantic City. The adept singer also delivers a lush and lavish rendition of the irresistible 1965 Barbara Mason hit “ Yes, I’m Ready.” “Music and Memories” has been compared to Amy Winehouse. Their vocals do bear an uncanny resemblance as astutely pointed out by writer Harry Young. It’s also a refined work of production pop enhanced by female backing vocals and moving orchestration. Fittingly, the album fittingly closes on one her compositions “To Be or Not to Be.” She hits her full stride as both a composer and vocalist on this lovely song that works on all levels.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial; font-size: 11pt; white-space-collapse: preserve;">
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<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/QuHmf-B0Zdo?si=iLLKvpllUfxxC_sU" title="YouTube video player" width="560"></iframe>
</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Let's Shing-A-Ling / Soul Time With Shirley Ellis</span><span style="font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> was lost in the tidal wave of 1967 releases as it was far from the vanguard, but it has aged well to be a solid listen nonetheless. While it may have been only 2 calendar years between “The Name Game” and these recordings, there were seemingly decades of musical and technical changes packed between 1965 and 1967. Her third and final album does reflect some of these transformations and her name alone calls for listening for those who have only heard her big 3 oldies radio hits "The Nitty Gritty,” “The Clapping Song,” and “The Name Game.” Those who wish to further explore these additional aspects and dimensions, will encounter a compelling 30 minutes of </span><span style="font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Soul Time</span><span style="font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">. </span></p> <div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXYTHnKn6cIklC2tGc7n3xNnA46fuWC2ZUIdn7ikC1Spi0uDUGMSqtttvoqTyTO9JJm7GB_Yy1Q4_1IENTXfUxW-q-FB4jbdj9b2jhOZgRP4OsbV1W30EOjMUPMzrdcSJNeKN31GdUdPPZvoWoRw48FGqq-dZxTvsPTWTdgnivQcGjcbFVhyG5Kg/s629/blue.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="624" data-original-width="629" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXYTHnKn6cIklC2tGc7n3xNnA46fuWC2ZUIdn7ikC1Spi0uDUGMSqtttvoqTyTO9JJm7GB_Yy1Q4_1IENTXfUxW-q-FB4jbdj9b2jhOZgRP4OsbV1W30EOjMUPMzrdcSJNeKN31GdUdPPZvoWoRw48FGqq-dZxTvsPTWTdgnivQcGjcbFVhyG5Kg/w400-h396/blue.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photograph by Sandy Speiser</td></tr></tbody></table><br /></div></span>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-35256470922307381522023-10-10T07:57:00.017-07:002024-01-21T16:51:11.875-08:00Freezing Hands-Empty the Tank<span id="docs-internal-guid-f6f34deb-7fff-fd1c-117a-8291b8d62430"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSvpxl6E4VyLHdRWiZd4DhzszRvFfpTzTNf3cJb4XXPgte4BSZx7KEmHt6O8FrE-9gT9U5jyAe2LdrXjkxlhf-320cXDZ4ru1bPUGeKZuX3dDeSiVRvopMdLvbUsUg7iMFGGqkGBo2fP0PSjYX8rjROMPsN61BWUUnM1f4TGma1DdqLjcsmUfLDw/s1200/tank-front%20coverjpg.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSvpxl6E4VyLHdRWiZd4DhzszRvFfpTzTNf3cJb4XXPgte4BSZx7KEmHt6O8FrE-9gT9U5jyAe2LdrXjkxlhf-320cXDZ4ru1bPUGeKZuX3dDeSiVRvopMdLvbUsUg7iMFGGqkGBo2fP0PSjYX8rjROMPsN61BWUUnM1f4TGma1DdqLjcsmUfLDw/w400-h400/tank-front%20coverjpg.jpg" width="400" /></a></div><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 700; vertical-align: baseline; white-space-collapse: preserve;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 700; vertical-align: baseline; white-space-collapse: preserve;">Current Phase</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: arial;"> </span>
</span><span style="font-family: arial;"><span style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">If you need to get up to speed with Freezing Hands, now’s the time as the wheels are already spinning on </span><span style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Empty the Tank</span><span style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">. Their fourth proper album continues their course, while also capturing their forward momentum and revealing new factets. Like the lightning quick album releases of the mid-sixties, this has surprisingly arrived shortly after 2022’s</span><span style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> <a href="https://wendy-city.blogspot.com/2022/03/freezing-hands-it-was-good-run.html" target="_blank">It Was a Good Run</a></span><span style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">. With its similar themes, constant through-lines and overall continuity, </span><span style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Empty the Tank</span><span style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> could even be considered conceptually as a Double Album, in the grand ‘70s tradition, when paired with its immediate predecessor. They have definitely honed their sound and once again found their distinctive spot between pop, punk and rock 'n’ roll. In addition to delivering memorable hooks, melodies and harmonies last heard in the late ‘70s power-pop heyday of the Nerves, 20/20 and the Beat, they also venture into '60s pastoral pop that somehow connects Tucson’s sunny Reid Park and parking lots to the Zombies’ "Beechwood Park" through the mists of the Kinks’ “Village Green.”</span></span></div><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><div style="text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; white-space-collapse: preserve;"><b>Giving the Youngsters a Run for their Money
</b></span><span style="font-size: 11pt; white-space-collapse: preserve;"><a href="https://curation-records.bandcamp.com/album/do-it-all-next-week" target="_blank">Uni Boys</a> and the Reflectors from Southern California and the Whiffs from Kansas City are currently leading power-pop into Century 21. All of these combos feature 1979-ish radio-ready melodies and a compressed sound that is laced as tight as <a href="https://en.wikipedia.org/wiki/Shoes_(American_band)" target="_blank">Shoes</a>. In contrast, Freezing Hands are able to add a spaciousness in their sound made by lived experience, years of work and exposure to a wider range of influences. Musically, their harmonies are able to give their sound an expansiveness that matches their panoramic Tucson surroundings. On the production side, their latest is once again presented in suitable mid-fi stereo and bears the production trademarks of Midtown Island Studio.
</span></span></div><div style="text-align: center;"><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJyUYvm0qcdwdpLxTKEVD9LsIvYuy2xXVDikCHcA05jxD9YfC8KxVATT1v8IXUnBlTmnIJYaHXq-GI1KQRctk4C5cdaVv2kgWtSIVpbRY1wpzHLScvAFb_iW39f93ces16fptq8ajtOw4stC6MC0c6VEoxF8SAjwzHgyX-YNqhb4T5lMq-g1fWYg/s1600/tucson.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="773" data-original-width="1600" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJyUYvm0qcdwdpLxTKEVD9LsIvYuy2xXVDikCHcA05jxD9YfC8KxVATT1v8IXUnBlTmnIJYaHXq-GI1KQRctk4C5cdaVv2kgWtSIVpbRY1wpzHLScvAFb_iW39f93ces16fptq8ajtOw4stC6MC0c6VEoxF8SAjwzHgyX-YNqhb4T5lMq-g1fWYg/w537-h260/tucson.JPG" width="537" /></a></div></span></div><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial; font-size: 11pt; font-weight: 700; white-space-collapse: preserve;">Dateland Records Recording Stars</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">They project a rare symmetry in their sound. However, the abundant hooks, harmonies and melodies bely and contrast with the lyrics. Underneath the hood are daring, intricate and integrated lyrics, steeped in the </span><span face="Arial, sans-serif" style="background-color: white; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Kinksian </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">tradition and not afraid of addressing the state of oneself, Tucson and the world. Moreover, the lyrics do not expect, nor receive any answers.</span></span></p><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><div style="text-align: justify;"><div style="text-align: left;"><span style="background-color: white; font-family: arial;"> </span></div><span style="font-family: arial;"><span style="background-color: white; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><span face="Arial, sans-serif"><b><span style="font-size: 11pt;">"When We Get to Tucson You'll See Why" </span><span style="font-size: x-small;">("Thumbelina" by the Pretenders)</span></b></span></span><span face="Roboto, sans-serif" style="background-color: white; color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">
Perhaps some of their sonic vastness and lyrical depth can be attributed </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">to the symbiotic relationship between Tucson and the band. The band is </span><span face="Roboto, sans-serif" style="background-color: white; color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">imbued with a certain Tucson-ness, but it’s not provincial or a yearning to move to the costly coast. It’s a certain openness known by those who have lived there and dismissed by those who don’t know, don’t value or don’t care. There is indeed something undefinable in the desert air and its <i>live and let live</i> ethos that can spur creative pursuits. </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Reflecting the unpredictable atmosphere of Tucson itself, Travis writes lyrical assemblages with straightforward, skewed and serpentine perspectives all clashing, converging and co-existing within the hooks and harmonies. </span><span face="Roboto, sans-serif" style="background-color: white; color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Overall, there is a magnetic pull that encourages further exploration and engagement way beyond the usual cycle of </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">point, click, skip ad, and scroll on. </span></span></div><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe92eTwrDJGVp9h8lGNQIyGcyfxBKD7-YZo2uj3qVW2og-0m1-6CwX6YTRXfkWH45YfPuIAc-NbvAF2yJrcT27yeENh6yESAtzbsnrpfaDJz_gSI4VAZrWzJadugpizB_J-NHkbT4FuaHFAMjhnumvKxF4oiHemFV6PhHSvV8XSIdwsqL68MaX2w/s4608/IMG_1466.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3456" data-original-width="4608" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe92eTwrDJGVp9h8lGNQIyGcyfxBKD7-YZo2uj3qVW2og-0m1-6CwX6YTRXfkWH45YfPuIAc-NbvAF2yJrcT27yeENh6yESAtzbsnrpfaDJz_gSI4VAZrWzJadugpizB_J-NHkbT4FuaHFAMjhnumvKxF4oiHemFV6PhHSvV8XSIdwsqL68MaX2w/w449-h336/IMG_1466.JPG" width="449" /></a></div><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial; font-size: 11pt; font-weight: 700; white-space-collapse: preserve;">Moving Targets</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">As previously mentioned, there’s an even stronger slant into the Kinks as heard on side one’s “Sunny-Free” and “For the Taken.” </span><span face="Arial, sans-serif" style="background-color: white; color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Further,</span><span face="Arial, sans-serif" style="background-color: white; color: #404040; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">they offer their own distinctive and dramatic take by applying sardonic character sketches and studies to their own locale. While the geographical settings for the bands drastically differ, their milieus overlap as Freezing Hands trade out football (soccer) for baseball, pubs for strip mall dive bars and rolling bucolic greens for parking lots, foothills and flatlands sprawling with red tile roofs. Until a recent revisit of those post-Turtles Flo & Eddie records spurred by reading Mark Volman’s recent book <a href="https://theturtles.com/happy-forever/" target="_blank"><i>Happy Forever</i></a>, I had not previously perceived Flo & Eddie's significant influence on Freezing Hands. It all makes sense as Ray Davies produced </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Turtle Soup</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> by the Turtles.</span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">
<span style="font-family: arial;"><b>TONIGHT</b> </span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial;"><span face="Roboto, sans-serif" style="background-color: white; color: #404040; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">“</span><span face="Arial, sans-serif" style="background-color: white; color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Wax Cups” evokes both "Drivin' Around" by Raspberries and the magic feeling that can still be felt when one returns to the Pacific Coast and observes the breaking waves and feels the cool of those misty California nights. In addition, it’s also a celebration of the option to go out once again. Meanwhile, </span></span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: arial;">“High Diver!” expresses the anticipatory aspects of that power-pop belief in the literal and figurative TONIGHT with the appropriate levels of top-down buoyancy in the grand tradition of Raspberries and ‘70s Beach Boys with the keys adding a Cars-like gleam. The lyrics shift easily from the slapstick and satirical to the clever and contemplative before twisting back on themselves.</span> </span></p><div style="text-align: justify;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihB4khmtfuDOctXOpmyefiqRN_WFl0TZQYjEJw5gykH5re_VfuTeOBsEVR_PJoQ8zlW7h3Q3fpoC8NcHGfH9Hd_htvoZ7g_h3LSbOj4PW6NdeYxnqRyUnTnFbmziWaWddPlZwJzlq6m32YuQUDBlopU8jCrbjkLyn6y4cw_94MunFPVv9XSKtOHA/s4608/IMG_1464.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3456" data-original-width="4608" height="354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihB4khmtfuDOctXOpmyefiqRN_WFl0TZQYjEJw5gykH5re_VfuTeOBsEVR_PJoQ8zlW7h3Q3fpoC8NcHGfH9Hd_htvoZ7g_h3LSbOj4PW6NdeYxnqRyUnTnFbmziWaWddPlZwJzlq6m32YuQUDBlopU8jCrbjkLyn6y4cw_94MunFPVv9XSKtOHA/w472-h354/IMG_1464.JPG" width="472" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face="Arial, sans-serif" style="background-color: white;">Freezing Hands live at the Yucca in Tempe, AZ (March 2023)<br /></span><span face="Arial, sans-serif" style="background-color: white;">L-R: Kevin Conklin (bass), Travis Spillers (guitar, lead vocals), Matt Rendon (drums, backing vocals) Scott Landrum (keys, backing vocals)<br /><br /></span></td></tr></tbody></table><div style="text-align: center;"><span style="font-family: arial;"><br /></span></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><div style="text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; white-space-collapse: preserve;"><b>Inherent intuition
</b></span><span face="Arial, sans-serif" style="font-size: 14.6667px; white-space-collapse: preserve;">Upon first hearing the song title announced by Travis when they played the Yucca Tap Room in Tempe last March, I thought that “I Was a Teenage Piece of Shit” was going to be an “ID Slips In” exploitative throwaway. It’s actually a reflective rumination on redeeming yourself in the universe for past harms done to others. It also actually flips the script on the usual narratives where oldsters gloat about how much they got away with in one’s youth. It concludes with the never ending quest “To Be a Much Better Human,” while musically it’s somewhat of a sweeping continuation of “Here with the Babies” from the preceding album. The song also displays their intuitive sense of combining “inside baseball” details with harmonies and relentless Stooges' “1969” inspired handclaps. Matt’s remakrable drumming in Freezing Hands recalls the great <a href="https://www.youtube.com/watch?v=ZJ0Mpy0cY6g" target="_blank">Clem Burke</a> and the late Phil Seymour. (His propulsive, yet intricate style of beat-pop-jazz drumming has to be seen and heard live.) Overall, it’s a brave display of their growth and development and knowing when one has to take things head on or when one needs to consider approaching from other angles. </span></span></div><div style="text-align: justify;"><span face="Arial, sans-serif" style="font-size: 14.6667px; white-space-collapse: preserve;"><br /></span></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial; font-size: 11pt; font-weight: 700; white-space-collapse: preserve;">Arrangements & Rearrangements</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Concluding side one is the cheeky “Got Me a Friend” which could be a concert closer and/or slotted in the upcoming movie</span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> Peter Rabbit 3: Naughty by Nature</span></span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: arial;"> during a festive montage. </span>
</span></p><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2074376203/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1734739512/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://thefreezinghands.bandcamp.com/album/empty-the-tank-2">Empty the Tank by Freezing Hands</a></iframe><div style="text-align: justify;"><br /><span style="font-family: arial;"><span face="Arial, sans-serif" style="background-color: white; color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Most groups typically front load their albums with the uptempo numbers up on side one to make a grand entrance and grab attention. Freezing Hands are not most groups as they work in reverse with the speediest and catchiest numbers on side two.</span><span face="Roboto, sans-serif" style="background-color: white; color: #404040; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> </span></span><span style="background-color: white; color: #404040; font-size: 14.6667px; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><span face="Arial, sans-serif"><span style="font-family: arial;"> </span>
</span></span></div><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><div style="text-align: justify;"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span face="Arial, sans-serif" style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><i><b style="font-size: 11pt; white-space-collapse: preserve;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2074376203/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3979798650/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://thefreezinghands.bandcamp.com/album/empty-the-tank-2">Empty the Tank by Freezing Hands</a></iframe>
<span style="font-family: arial;">Beat Boys in the Jet Age</span></b></i><span style="font-size: 11pt; white-space-collapse: preserve;">
<span style="font-family: arial;">The album takes off on side two and goes from strength to strength, while </span></span></span><span style="font-family: arial;"><span face="Roboto, sans-serif" style="background-color: white; color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">prospecting similar power-pop territory as the Deathray Davies, <a href="https://danepstein.substack.com/p/flop-whenever-youre-ready?utm_source=%2Fsearch%2Fflop&utm_medium=reader2" target="_blank">Flop</a> and the Lolas. </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">“Destiny, Destiny” is total <i>next phase </i></span><span face="Arial, sans-serif" style="background-color: white; color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><i>new wave rock 'n' roll</i> </span><span face="Arial, sans-serif" style="background-color: white; color: #202122; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">combining 20/20, </span><span face="Arial, sans-serif" style="background-color: white; color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">the Taxi Boys, Greg Kihn Band with </span><span face="Arial, sans-serif" style="background-color: white; color: #404040; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Look Sharp!</span><span face="Arial, sans-serif" style="background-color: white; color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">-era Joe Jackson. The on-target lyrics delve into notions of changing fate in the face of the pre-ordained. “Disappearing Bug or Horse” returns them to the valley of the Dickies merging with</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> TVT-period Guided by Voices. </span><span face="Arial, sans-serif" style="background-color: white; color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Besides the aforementioned American influences, there are also hints of UK mod revival sounds like the Look UK and the Lambrettas-especially when those bands incorporated Broadway showtunes influence like the Look UK covering <a href="https://www.youtube.com/watch?v=oT2YmtN1ct8" target="_blank">“Tonight”</a> from </span><span style="background-color: white; color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><span face="Arial, sans-serif"><i>West Side Story.</i></span></span></span></p><div> </div></div></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: white; color: #404040; font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><span face="Roboto, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><b><i>Topsy-Turvy</i></b>
Self-referential songs are tricky as they can work or they can fall flat. Thankfully “My Guitar” is more Young Fresh Fellows than goofy Too Much Joy. “Taxiing” raises the question: “Is that a riveting AC/DC riff by way of Hoodoo Gurus?” "Friend-O" unfolds as a rollicking barroom morality play and</span><span face="Roboto, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"> has the galloping kick of “Kodachrome” by Paul Simon.</span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: white; color: #404040; font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><span face="Roboto, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><br /></span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: white; color: #404040; font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><span face="Roboto, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2074376203/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2520064039/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://thefreezinghands.bandcamp.com/album/empty-the-tank-2">Empty the Tank by Freezing Hands</a></iframe></span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Arial, sans-serif" style="background-color: white; color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><span face="Roboto, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline;"><br /></span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="background-color: white;"><span style="font-family: arial;">The enthralling “Nothin’ in the Tank” is this album’s tour de force. The song is already incorporated in their live set and immediately stood out at their aforementioned rare live show at the Yucca in Tempe last March. The “canvas sneakers power-pop” of the Nerves and the Beat arrives on the forefront. It’s a mini-masterpiece with layers of whirling vocals and cascading melodies before finishing in a round.
<br /></span></span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial;"><span style="color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><span face="Arial, sans-serif" style="background-color: white; font-weight: 700;">Nothing in Reserve</span><span face="Arial, sans-serif"><span style="background-color: white;">
</span></span></span><span face="Roboto, sans-serif" style="color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Under constantly changing circumstances, Freezing Hands have remained true to their ambitious and distinctive approach of spanning</span><span face="Roboto, sans-serif" style="color: #4d5156; font-size: 10.5pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 700; vertical-align: baseline; white-space-collapse: preserve;"> </span><span face="Roboto, sans-serif" style="color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">musical decades to advance their harmonic, melodic and enduring sound of their own making. All this is made possible by their resolute commitment to rehearsals, recordings and live shows on top of the push & pull of workaday life. </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">In a way</span><span face="Roboto, sans-serif" style="color: #404040; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">, their undeterred pursuit to create their own captivating sound and realize their visions in the face of everything else are also major</span></span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: arial;"> characteristics of the Old Pueblo of Tucson itself.
</span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9qsBm4IjQtJl4aIDTxeFWQ9XL_negr6hJEayKQgXyffZQ6q1_81QZ4w86TgQKhZyrLBn1qy_dOBRfGpR8hFbgkbl-FxkEw-k-r3fxvCal1rKAUE-9m-sfDwlsm7PU9WJJzZeVo9sxNBFPBiZIv55zHzSs04nRp6iJuFILY5ESMm4wro8_HpqVkQ/s1000/FreezingHands-back-cover.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="667" data-original-width="1000" height="345" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9qsBm4IjQtJl4aIDTxeFWQ9XL_negr6hJEayKQgXyffZQ6q1_81QZ4w86TgQKhZyrLBn1qy_dOBRfGpR8hFbgkbl-FxkEw-k-r3fxvCal1rKAUE-9m-sfDwlsm7PU9WJJzZeVo9sxNBFPBiZIv55zHzSs04nRp6iJuFILY5ESMm4wro8_HpqVkQ/w519-h345/FreezingHands-back-cover.jpg" width="519" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Freezing Hands-photo by <a href="https://www.edarnaudphoto.com/" target="_blank">Ed Arnaud</a><br />L-R: Kevin Conklin (bass), Travis Spillers (guitar, lead vocals), Matt Rendon (drums, backing vocals) Scott Landrum (keys, backing vocals)<br /><br /></td></tr></tbody></table><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: arial;"><br /></span></span><p></p><span face="Arial, sans-serif"><span style="background-color: white;"><div style="text-align: center;"> </div></span></span><p></p></span>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com2tag:blogger.com,1999:blog-29147952.post-88079740468101623972023-08-21T07:29:00.016-07:002023-08-26T08:09:57.825-07:00Los Pakines<span id="docs-internal-guid-98468abe-7fff-329c-0824-603a74f38085"><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 10pt; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNyWyn8Vugb0xvpKZ1Jc2CdxWohY5TRXLy7sMoROFk2GEurBScZ4jsW9T5Tt1SoJSfFzgmmBRcD_j9Q78MhVVFpVlVNnbm_p4TB0DcTIJjLs9qM-pg2GsRQYEJeldu6Qhjt7_vJ6NYN3yWxg1vV48-yCYZuTMxyubdBRaE84FyZ4GxWof4tziEcg/s640/cover.jpg" style="background-color: transparent; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNyWyn8Vugb0xvpKZ1Jc2CdxWohY5TRXLy7sMoROFk2GEurBScZ4jsW9T5Tt1SoJSfFzgmmBRcD_j9Q78MhVVFpVlVNnbm_p4TB0DcTIJjLs9qM-pg2GsRQYEJeldu6Qhjt7_vJ6NYN3yWxg1vV48-yCYZuTMxyubdBRaE84FyZ4GxWof4tziEcg/w400-h400/cover.jpg" width="400" /></a><br /></p><div style="text-align: left;"><span style="font-family: arial; text-align: justify;"><span face="Arial, sans-serif" style="background-color: transparent; color: #222222; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span face="Arial, sans-serif" style="color: #464646; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">The infectious and varied Peruvian cumbia sound of the ‘60s & ‘70s has experienced a remarkable resurgence in the last 10 years with a high tide of reissues. Legendary labels like Lima’s Infopesa (Industria Fonografica Peruana S.A.) and reissue labels like Madrid’s Vampisoul, who acquired the entire <a href="https://daily.bandcamp.com/lists/discos-mag-label-profile" target="_blank">Discos MAG catalog</a> in 2022, are some of the major movers. After some excellent overview compilations like Vampisoul’s <a href="http://wendy-city.blogspot.com/2019/11/various-cumbia-beat-vol-1-experimental.html" target="_blank">Cumbia Beat</a> volumes and Infopesa’s <a href="https://www.youtube.com/watch?v=IhgnxSSc8gQ" target="_blank">Cumbias Chichadélicas: Peruvian Psychedelic Chicha</a>, the labels are now offering single artist anthologies and individual album reissues in response to the recent surge of interest in this music. In 2015 Infopesa released this Los Pakines collection, which includes their first two albums Los Pakines Y....."Pasto Azul" and Los Pakines in their entirety. Further, the master tapes were utilized to present both albums, originally released in 1973, in the highest fidelity possible.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span face="Arial, sans-serif" style="color: #464646; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Los Pakines started as a surfy instrumental group with their influences ranging from the local Lima instrumental combos like Los Belking’s, Los Jaguar’s, Los Holy’s, Los Destellos (the Flashes) to international instrumental purveyors the Shadows and the Ventures. It has been documented that Infopesa owner Alberto Maraví swayed them to augment their instrumental sound with Peruvian cumbia-itself an infectious blend of Cuban guaracha and Colombian rhythms. Brothers José "Pepe" Torres Liza and Alejandro "Pakin" Torres Liza started the band that remains active to this day. Alejandro composed a majority of their songs and played the timbales, while brother José "Pepe" provided the fluid lead guitar adorned with romantic flourishes. Alejandro's churning click-clack percussion establishes the solid rhythmic foundation for the interplay between the rhythmic and lead guitars. Their melodies go into some unexpected directions-sometimes turning corners unto entirely new melodies.</span></p></span></span></div><p></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/wLs5Whg0u0w" title="YouTube video player" width="560"></iframe><br /><br /><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 10pt; text-align: justify;"><span style="background-color: transparent; color: #202122; font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Things get going on "Ramo de Rosas" (“Bouquet of Roses”) as the bucking percussion kicks in between the driving guitar sounds. Poppy “Ya, La, La, La” vocables are hinged upon </span><span style="background-color: transparent; color: #464646; font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">serpentine guitars that coil through tangles of tropical psychedelia on <a href="https://www.youtube.com/watch?v=CGh2BGp1R84&list=OLAK5uy_lXrljZ6tVpti3e_L9wzCMDOYM_JhDGIyc&index=9" target="_blank">“San Luis.”</a> Similar vocal shadings wrap around “Solitario,'' a jaunty tune that takes a circuitous route around “Theme from a Summer Place,” “Blue Moon” and even “The Bristol Stomp.” Reflecting local color and history, they even named a song after the</span><span style="background-color: transparent; color: #202122; font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"> Peruvian 18th-century entertainer & mistress</span><span style="background-color: transparent; color: #464646; font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"> Micaela Villegas, known as <a href="https://en.wikipedia.org/wiki/Micaela_Villegas" target="_blank">La Perricholi</a>. “La Perricholi” is a joyous, </span><span style="background-color: transparent; color: #222222; font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">exquisite</span><span style="background-color: transparent; color: #464646; font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"> and percolating number from their debut album featuring the clicking sound of the guacharaca, a percussion instrument made from a small palm tree and also known colloquially as a scraper. The guacharaca also appears on “Tania,” reminding me of ? and the Mysterians covering “The Theme to Hang ‘em High.”</span></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/jgEwk20fy6k" title="YouTube video player" width="560"></iframe><br /><br /><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 10pt; text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="background-color: transparent; color: #464646; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/1T2pitbwA5c" title="YouTube video player" width="560"></iframe>
</span><span face="Arial, sans-serif" style="background-color: transparent; color: #464646; font-size: 11pt; white-space-collapse: preserve;">
They began to get harder and heavier on their second self-titled album as unison vocals are incorporated on “Tómalo o Déjalo” (“Take or Leave It”) and mirror the North American West Coast groups like El Chicano and Santana. “Fue Una Mentira” (“It Was A Lie”) is a shimmering vocal tune featuring a liquidy guitar sound made possible by delay. The song is also reminiscent of the Ghetto Brothers, the early ‘70s Puerto Rican group from the South Bronx.
</span><span face="Arial, sans-serif" style="background-color: transparent; color: #464646; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-size: 11pt;">The highly skilled Los Pakines had domestic success for decades and also achieved international acclaim in the ‘70s & ‘80s-as heard on the 1975 live album </span></span><span face="Arial, sans-serif" style="background-color: transparent; color: #464646; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Los Pakines En Miami</span><span face="Arial, sans-serif" style="background-color: transparent; color: #464646; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">. </span><span face="Arial, sans-serif" style="background-color: transparent; color: #444444; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Their songs, both simultaneously foreign and familiar, evoke distant coastal lands and cross-pollination as well as departures and landings. It is no surprise </span><span face="Arial, sans-serif" style="background-color: transparent; color: #464646; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">their records spread all over Latin American and are now being rediscovered. Their captivating sound helped create a golden musical era in Peru and their recordings continue to take flight 50 years later.</span><span face="Arial, sans-serif" style="background-color: transparent; color: #464646; font-size: 11pt; white-space-collapse: preserve;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqYICSyFNOyRZ7_cDzxoudr1Nb_ikGqnJzT4_707QaQ_7duNHSPM7Yo89UMkivfvRrl2TQkMrz67Mt1dJbHKKGeCZPdvRQKWQu1yPKy_qMQljbHkvbWLXwuPhOOqRZErrxHottvKAb_F17IiqebLl299yG_tuGftm1p9t0ecGGUajJptZlBLDFDQ/s500/los-pakinesAZUL.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqYICSyFNOyRZ7_cDzxoudr1Nb_ikGqnJzT4_707QaQ_7duNHSPM7Yo89UMkivfvRrl2TQkMrz67Mt1dJbHKKGeCZPdvRQKWQu1yPKy_qMQljbHkvbWLXwuPhOOqRZErrxHottvKAb_F17IiqebLl299yG_tuGftm1p9t0ecGGUajJptZlBLDFDQ/w400-h400/los-pakinesAZUL.jpg" width="400" /></a></div><p></p><p></p></span>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-30127703217027050782023-08-12T09:30:00.026-07:002023-10-20T17:49:06.003-07:00The Highmarts-World Tour: Greatest Hits + Dodgy Demo<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRFJ894FAyqENFJpkR365VhnaDvj6yOk3gFENzwEBVKnYAronhzNJ4hjGniQZjgw8eDTk528ooKhqSbEsQdcdcPqUTIlJ1eSuLlkCN286SIQCEJyJxZBIn14n9yw87wtJCYOE4Jam3dUA9UlgSHLIBOLD2vVxC6ER96PVG7E1gDw87yxK2Ssy4Sw/s1076/High%20Quality.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1076" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRFJ894FAyqENFJpkR365VhnaDvj6yOk3gFENzwEBVKnYAronhzNJ4hjGniQZjgw8eDTk528ooKhqSbEsQdcdcPqUTIlJ1eSuLlkCN286SIQCEJyJxZBIn14n9yw87wtJCYOE4Jam3dUA9UlgSHLIBOLD2vVxC6ER96PVG7E1gDw87yxK2Ssy4Sw/w371-h400/High%20Quality.jpg" width="371" /></a><br /></div><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">A rush of excitement and anticipation came over me when I first saw this release. I have been following the Highmarts via their singles and now Soundflat Records (of Germany & Japan) has stirred things up during this most wearing stretch of summer with <i>World Tour</i>.
According to the <a href="https://www.tokyoweekender.com/art_and_culture/entertainment-art_and_culture/music/the-highmarts/" target="_blank">Tokyo Weekender</a>, the Highmarts are the future of the Tokyo garage scene. The current version of the band includes Atsushi Hagimoto (Bass/Vocals Support), Minako Ishikawa (Drums/Vocals Support) and guitarist and singer Suzu, who remains the founding member of the band. Past line-ups included Karin, who currently drums for the indie-pop wonders <a href="https://hazysourcherry.bandcamp.com/" target="_blank">Hazy Sour Cherry</a>. </span><span style="font-family: arial; font-size: 11pt; white-space-collapse: preserve;">The album cover is notable for featuring a new band logo with a Zenith “Z” splitting their name. </span><span style="font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">(</span><span style="background-color: white; color: #202122; font-family: arial; font-size: 10.5pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Zenith was a major American consumer electronics brand before being bought by LG in 1999.) Also of note is the very cool '90s Buddy Holly sweatshirt worn by drummer Minako Ishikawa in the band photo.</span></p><div class="separator" style="clear: both; text-align: left;"><span id="docs-internal-guid-4f298600-7fff-ee01-9e11-df89a25e0aa8"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoyUbvduiQGvouOVn88QwJv5RpEkoNoPWzD6xW5yTGptAsgnTuYLGKMJynC5l6luL-5pCj_K7j765YvSIojY3FSrIIzxp6OG4zTSHcm0Sx4bNkzHqCrwk3MZUnc4SsSy4Jz476KrT6vDCTH6_BiCZQruSzss_EjpUFWTZtJ53cPGXE95aUuOvXsQ/s1728/first%20single.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1296" data-original-width="1728" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoyUbvduiQGvouOVn88QwJv5RpEkoNoPWzD6xW5yTGptAsgnTuYLGKMJynC5l6luL-5pCj_K7j765YvSIojY3FSrIIzxp6OG4zTSHcm0Sx4bNkzHqCrwk3MZUnc4SsSy4Jz476KrT6vDCTH6_BiCZQruSzss_EjpUFWTZtJ53cPGXE95aUuOvXsQ/w529-h396/first%20single.jpg" width="529" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Notice the Golden Cups lettering</td></tr></tbody></table><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><b>Greatest Singles</b>
I recall seeing their first single “I Want You Bad” prominently featured at <a href="https://timebomb.co.jp/en" target="_blank">Time Bomb Records</a> in Osaka in 2019. The single, produced by Sally Kubota, also includes a cover of the Gestures’ “Run, Run, Run.” Fittingly, the scampering “I Want You Bad” begins the </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">World Tour</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"> album. This album title was directly inspired by the trio’s recent touring of France. It’s heartening to know that the Japanese groups are once again whirling around on overseas tours. The first side of <i>World Tour</i> consists mainly of their originals, which previously appeared as singles. Also included are some live versions of their singles like “Hey Boy” and a few Japanese Group Sounds (GS) and American covers. T</span><span face="Arial, sans-serif" style="font-size: 11pt; white-space-collapse: preserve;">hey definitely bring out the brightness in the old standard “CC Rider/Jenny Jenny.”</span></span></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"> <iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/QzGGaV_wxFo" title="YouTube video player" width="560"></iframe></p></span></div><div class="separator" style="clear: both; text-align: left;"><span><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">
With its CCR-ish intro and Beatlesque closing chord, “Hold Me” is a first-half highlight. This single, originally issued by Mexico City's Chez Nobody Records, demonstrates their current ability to project dynamics and dimensions by ramping up backing vocals, while tracking their ongoing direction. I'm guessing their current approach has also been sparked by their perceived influences-ranging from U.S. ‘60s legends the Shangri-Las, the Ronettes, the Luv’d Ones as well as ‘90s underdogs like the Prissteens to even the eyelined garage sound of 15 years ago whipped up by the Raveonettes and the Detroit Cobras. In turn, it seems like Highmarts are inspiring current Japanese trios such as <a href="https://www.instagram.com/questionsokinawa/" target="_blank">the Questions</a> (Okinawa). </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: arial;"><b>Dodgy Demo</b>
The second half of the record is the complete <i>Dodgy Demo</i> which was originally released as a limited merch table cassette. They take “Test Drive” by Takeshi Terauchi and Bunnys out into Davie Allan & the Arrows fuzzy mirage territory. A song titled “That Summer Feeling" was one of the first things I noticed when previewing the track listing. Could it be the yearning Jonanthan Richman song? It's not the Jonathan Richman song, but an atmospheric, distorted and swirling original by Suzu and sung in Japanese. Lovely melodies and harmonies shine through the sheets of sound-resonating somewhere between Slumber Party, Red Kross and the Amps. I also hear faint echoes of "Voodoo Doll" by the Queers in the melody. </span>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/4oeDgTZaQcM" title="YouTube video player" width="560"></iframe>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/no2s4cdMzO4" title="YouTube video player" width="560"></iframe>
<span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">
<span style="font-family: arial;"><b>Up Next</b>
The catchy “I’m So Sorry” could be their signature song as it’s a clear standout. The Highmarts are incorporating a much stronger power-pop element (a la the Baby Shakes) which solidifies, diversifies and enhances their sound. This style truly suits them. </span></span><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt;">“It’s All Over Now” dramatically unfolds next. Fittingly it’s a spirited theme song to an imaginary movie that conceptually exists only as a poster design concept from Rockin’ Jelly Bean. These most recent finely tuned recordings indicate they are punching through to the next level. </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Overall, </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">World Tour</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> presents the adventures of the Highmarts searching and finding their own original sound. It also might be the garage rock record of the summer. </span></span>
</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5TH1HGR-ymtD8QP-FCfomlZ0-Q2GcYsLGrVTqbjvU4WUvzjfCK8c-cwuIlogg0EdC8VVD7O_rnn0dn6pwkp841g0BAEZWnguhM_KZGy37dWNFhjK8tDuSHyrQNiXT7NrgFT9rZO1mOKF6-sgBjDiCvEafUfl1V8kALtSy-VJ32zvpNbZJKXs5jQ/s1440/rwb.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="942" data-original-width="1440" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5TH1HGR-ymtD8QP-FCfomlZ0-Q2GcYsLGrVTqbjvU4WUvzjfCK8c-cwuIlogg0EdC8VVD7O_rnn0dn6pwkp841g0BAEZWnguhM_KZGy37dWNFhjK8tDuSHyrQNiXT7NrgFT9rZO1mOKF6-sgBjDiCvEafUfl1V8kALtSy-VJ32zvpNbZJKXs5jQ/w483-h315/rwb.jpg" width="483" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Atsushi Hagimoto (Bass), Minako Ishikawa (Drums) and Suzu (Guitar, Vocals)</td></tr></tbody></table>
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<p></p></div><p></p>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-59540660729725342292023-08-05T09:35:00.017-07:002023-08-05T17:17:08.036-07:00 The Wildebeests – Go Wilde In The Countrye<span id="docs-internal-guid-189f611d-7fff-e196-eceb-28ef7a70ec75"><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"></span></p><div class="separator" style="clear: both; font-family: Arial, sans-serif; font-size: 11pt; text-align: center; white-space-collapse: preserve;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdEGPP7IW9XDy5XryOtcH5sUvgG4GHpKowLXrMeIE1PABcoXm6jeIl21WOW45uB4tD8OE9-k8pz2ciTrQYJVmqeeBuT5fd0InpSJovYOaXSa33wxGfMDeeiRZwyjNJnO3huE2TShC_GT_XuNecF6UguWHkl5ou36yvrn6MB4xn4UMqqZyO91g1Mg/s500/album%20cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdEGPP7IW9XDy5XryOtcH5sUvgG4GHpKowLXrMeIE1PABcoXm6jeIl21WOW45uB4tD8OE9-k8pz2ciTrQYJVmqeeBuT5fd0InpSJovYOaXSa33wxGfMDeeiRZwyjNJnO3huE2TShC_GT_XuNecF6UguWHkl5ou36yvrn6MB4xn4UMqqZyO91g1Mg/w400-h400/album%20cover.jpg" width="400" /></a></div><div style="text-align: justify;"><br /></div><span face="Arial, sans-serif"><div style="text-align: justify;"><span style="font-family: arial; font-size: 14.6667px; white-space-collapse: preserve;">With 1997's <i>Go Wilde in the Countrye</i>, the Wildebeests arguably released one of the best garage rock albums of the ‘90s. The Edinburgh, Scotland trio are one of those groups, like the Cynics, who took the best from ’66 & ’77 and beyond to forge their own distinctive sound. While the unsung group had the courage to set out on their own path during the ‘90s garage revival, by and large their recordings have somewhat unjustly slipped through the cracks over the decades. The band features Lenny Helsing of the Thanes, bass player John Gibbs (the Kaisers, Holly Golightly Band, the Masonics) and vocals/guitars provided by Russell Wilkins. Wilkins is also a key figure in the Medway/Billy Childish scene and has extensive experience with the Pop Rivets, Thee Milkshakes and the Delmonas.</span></div></span></span><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">They were a last minute fill-in for the Kaisers at the first Las Vegas Grind weekender in October 1999. I remember attendees being pretty crestfallen as they were anticipating seeing both the Neatbeats and the Kaisers on the same night at the same festival. They whipped the crowd into an instant frenzy and canceled their disappointment as soon as the first chord was struck. Their stage command and incendiary, yet melodic sound carried them through to impress the international audience and set up things perfectly for the Neatbeats (who played at the peak of their powers). Russell Wilkins exhibited a certain savoir-faire with his resolute vocals and stage presence. Further, he was able to achieve a pretty bold tone on the guitar that both growled and snarled. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil05qDodSf5f7gAJELZgTxpdqRt5WVkv3zUu-eLKor5ja6DxDoqPhf-0okQUOIbtdAb5RoDj5El9WWaYXkt1cqQONz8IH88vjnCrbhg_Ja0HJsLyRN3_6wqjpkkmnlOMSETn8UiEHAh-HEJkgjwt5HCprduEa2bT7Nn7tHx5HOmgS-pqkq9PbnPA/s1724/wildebeests.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1152" data-original-width="1724" height="357" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil05qDodSf5f7gAJELZgTxpdqRt5WVkv3zUu-eLKor5ja6DxDoqPhf-0okQUOIbtdAb5RoDj5El9WWaYXkt1cqQONz8IH88vjnCrbhg_Ja0HJsLyRN3_6wqjpkkmnlOMSETn8UiEHAh-HEJkgjwt5HCprduEa2bT7Nn7tHx5HOmgS-pqkq9PbnPA/w533-h357/wildebeests.JPG" width="533" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Wildebeests-at the Las Vegas Grind-October 29, 1999</td></tr></tbody></table><span face="Arial, sans-serif" style="font-size: 11pt; white-space-collapse: preserve;"><div style="text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">
This record encapsulates their sound that is simultaneously raw and ready, yet refined due to the accomplished and astute musicians involved. Their distinguishing characteristic is their ability to achieve a pretty fierce, thick, murky, melodic and full-blown sound within their self-imposed limitations. Additionally, their well-versed knowledge of music is second to none as exemplified by their deep-end covers that truly stretch across the decades of recorded music, while also displaying their propensity towards variety.
The rumbling opener “I Need You” is not the Kinks song, but the next one “World Keeps Going Round” was definitely inked by Ray Davies. Next, they explore the unvarnished Pacific Northwest ‘60s sound with the R&B instrumental “5A Gibbs Entry.” </span><span face="Arial, sans-serif" style="font-size: 10.5pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">The trio also excel at pointed manifestos (“This is My Year”) and determined declarations </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">(“Standing Alone” CD-only). There is an overall dynamic flow to the sequencing as their standout cover of the Ramones’ “Suzi is a Headbanger'' is perfectly placed between the aforementioned “This is My Year” and “Bad Storm Coming.” By the way, “Bad Storm Coming” sounds like quintessential American moody '60s garage punk. However, it was originally done by London’s Downliners Sect on their 1965 </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Country Sect</span></span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="font-family: arial;"> album. </span></span></div></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/mcTJJm6ACpc" title="YouTube video player" width="560"></iframe>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/j45R5QD35wk" title="YouTube video player" width="560"></iframe>
</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Beat & pop sensibilities frequently shine through their jagged sound that sometimes veers off into freakbeat. They also prove they can pull off the ‘40s and ‘50s blues on the old Bukka White/Mose Allison standard “Parchman Farm” and the Willie Dixon/Muddy Waters' vehicle “I Live the Life I Love.” The Wildebeests certainly go much further back into the roots, weeds and bogs than most bands. For instance, “Temptation” is the old 1933 evergreen first made famous by Bing Crosby and they deliver in formidable fashion making it sound like the natural precursor to the rockabilly/garage standard “Jezebel.”</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; white-space-collapse: preserve;"><span style="font-family: arial;">It may be heresy in some quarters, but the Wildebeests go beyond the Medway sound and frankly, no other group sounds like them. <i>Go Wilde in the Countrye</i> captures their forward momentum of the time. It’s also one of those perfect albums to play on the drive home from work. In a way, they presaged <a href="http://wendy-city.blogspot.com/2018/12/never-fitting-in-with-any-sub-strata.html" target="_blank">the Kent 3</a>, the Embrooks and Reigning Sound with their ability to combine surging immediacy and concision with expansive knowledge and skillful musicianship. Once again, the SFTRI label had the foresight to release another stellar record that has more than stood up and endured here in the '20s. This album should remain on the forefront when it comes to ‘90s garage rock.</span></span></p><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqF_9P558HGbYEb9v0IMk57JvW8uci14Fjd9DITCsZoJU03mQ7TsHP10M0060V4nYMIFufGxt7DoIfUzPUvJOMyv3wuv9DPPtONRNcI4kI7MJQ6b_73N3g1k0rXUCreVfAZZ7Pte7udYd0Vy4A7QW3orpeZ_UxAftEAiHbZZPoSwde3Gp_2h_hrg/s1464/wildebeests-back.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1330" data-original-width="1464" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqF_9P558HGbYEb9v0IMk57JvW8uci14Fjd9DITCsZoJU03mQ7TsHP10M0060V4nYMIFufGxt7DoIfUzPUvJOMyv3wuv9DPPtONRNcI4kI7MJQ6b_73N3g1k0rXUCreVfAZZ7Pte7udYd0Vy4A7QW3orpeZ_UxAftEAiHbZZPoSwde3Gp_2h_hrg/w420-h382/wildebeests-back.JPG" width="420" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">L to R: John Gibbs (bass), Lenny Helsing (drums), Russell Wilkins (guitar)</td></tr></tbody></table></div>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-8503704757704153912023-07-30T08:13:00.013-07:002023-07-30T20:10:25.254-07:00Supersnazz-Diode City & Rock Juice-Drink All Night<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7HlulNGhvOzYifHIh6XJCqkdvXnT00cl-5OsFZKCnogZwAPFA_rVIrLFetIhVwc036DbdKqesY1Ewv-CZv2yQOgGoqh1kG74SDvmzuOZQ7sqN5-mHpe-SAk80zXG7_2FDNd0R99aPuQ63vSBe3Ng8XABV95a6z3WBhn6H7FrOsHgMpSXckdP0TA/s500/Diode%20City.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="498" data-original-width="500" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7HlulNGhvOzYifHIh6XJCqkdvXnT00cl-5OsFZKCnogZwAPFA_rVIrLFetIhVwc036DbdKqesY1Ewv-CZv2yQOgGoqh1kG74SDvmzuOZQ7sqN5-mHpe-SAk80zXG7_2FDNd0R99aPuQ63vSBe3Ng8XABV95a6z3WBhn6H7FrOsHgMpSXckdP0TA/w400-h399/Diode%20City.jpg" width="400" /></a><br /><br /></div><span id="docs-internal-guid-f743a19f-7fff-5c61-927f-63981ee88a4a"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><div style="text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; white-space-collapse: preserve;">Some 30 years ago I recall being excited to see Supersnazz’s <i>Superstupid!</i> CD in the new rotation bin at the college radio station where I had an early Friday morning show. It seemed like a major departure for Sub Pop at that time to release the debut album from an all-female Japanese band. Little did I know at the time that Kurt Bloch, of Fastbacks, had produced the album recorded at Conrad Uno’s Egg Studio in Seattle and the band had connections with Scott McCaughey of the Young Fresh Fellows. Quickly losing track of them in the midst of busy college life was not surprising as their follow-up </span><i style="font-size: 11pt; white-space-collapse: preserve;">Devil Youth Blues</i></span><span face="Arial, sans-serif" style="font-size: 11pt; white-space-collapse: preserve;"><span style="font-family: arial;"> was released only in Japan by Time Bomb Records based in Osaka. </span>
</span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMv0B2tPnV5rps4iUyCBenY5ldZG023UEwx_kbYFMyh9H_4Np66feIlyydK3uztrlhhiM8wRhpyPGVVNSN0ixX2Vb_UDVWz6JREPSqcUUEGydEFkyGS_f9AFxTveG2OoM9rjABb0lvsO4FdwPueYXuA0Zh0ZHZ0EATZ5UrgfNFPiHNNVX7202U2w/s1696/time%20bomb%20records.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1178" data-original-width="1696" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMv0B2tPnV5rps4iUyCBenY5ldZG023UEwx_kbYFMyh9H_4Np66feIlyydK3uztrlhhiM8wRhpyPGVVNSN0ixX2Vb_UDVWz6JREPSqcUUEGydEFkyGS_f9AFxTveG2OoM9rjABb0lvsO4FdwPueYXuA0Zh0ZHZ0EATZ5UrgfNFPiHNNVX7202U2w/w525-h364/time%20bomb%20records.JPG" width="525" /></a></div></div><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span face="Arial, sans-serif" style="font-size: 11pt; white-space-collapse: preserve;">
</span><div style="text-align: justify;"><span style="font-family: arial; font-size: 11pt; white-space-collapse: preserve;"><span style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Thankfully SFTRI came to the rescue in 1999 and licensed this album for North America release. </span><span style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Diode City</span></span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="font-family: arial; font-size: 11pt; white-space-collapse: preserve;"> is the album where it all came together for them. On the whole, the album is packed with propulsive power-pop and off-the-rails rock ‘n’ roll. There are hooks at every turn and an overall surging energy that both transmits and reflects the perpetual motion of Tokyo. Leading off is “Words of Love” that rips right off from the start in Blondie fashion. The poppy, choppy and catchy “Baby Love” reminds me of the Eyes (Charlotte Caffey’s pre-Go-Go’s band) with its skip-along sensibilities and racing tempos propelling the song forward. In fact, the entire record has some of the best punk/new wave/power-pop elements and influences of late ‘70s Los Angeles all over it. </span><span face="Arial, sans-serif" style="font-size: 11pt; white-space-collapse: preserve;">
</span></span></div></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij25c9G_9xQxoLVI9xL7Ou02qq60w_E7f1um7p5TvnWoPD5KE4N2gNTlQVKnKXUli6TqLfFl1AUVfgiuK8M_hTQBBiGJPZDABOKDGXMYnrMFQQfdIuNZKwkubtFoZjTj49vT9Z_16dVv9DmUNUB69IcOkRqsl4ej19OiUv5WzyCX-_Hb6AEgIfdg/s1226/supersnazz.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="945" data-original-width="1226" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij25c9G_9xQxoLVI9xL7Ou02qq60w_E7f1um7p5TvnWoPD5KE4N2gNTlQVKnKXUli6TqLfFl1AUVfgiuK8M_hTQBBiGJPZDABOKDGXMYnrMFQQfdIuNZKwkubtFoZjTj49vT9Z_16dVv9DmUNUB69IcOkRqsl4ej19OiUv5WzyCX-_Hb6AEgIfdg/w456-h352/supersnazz.JPG" width="456" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Supersnazz (Tomoko & Spike)<br />Phoenix, AZ-Nov. 2001</td></tr></tbody></table><p></p><div style="text-align: justify;"><span style="font-family: arial;"><span style="font-size: 14.6667px; white-space-collapse: preserve;">“No Excuse” bursts out with that hammering stripped-down Stooges piano riff and swarming buzz-fuzz guitars before being anointed with Saints-like horns. The title track “Diode City” and “Star Kills” arrive with prominent X marks. They nail the menacing group-chant vocals on “Diode City,” while the blistering “Star Kills'' will have you wondering if it was in any way influenced by Yukio Mishima’s novella “Star.” The delightfully straight-ahead “It’s Alright” brings back the flash and dash of <a href="https://en.wikipedia.org/wiki/Sheena_%26_The_Rokkets" target="_blank">Sheena & The Rokkets</a>.</span></span></div></span><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioYQ4Cit1tq5woTxoDrLtOx_MukgL7EtjiaL3qchSeuJUVzEsWG2C0OQD9yx_m4xlSGekE8FLYjE6tx9LQmZ7EiWun3JbNrDrLp85pelU8EGudC0oU25zYDa6AKeLxD5hmndKHaVzkkNVoiGOeFWLcMqloPH9WzTIM0iMOWpHQPUiFGhICzik7dQ/s1282/supersnazz0002.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1282" data-original-width="961" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioYQ4Cit1tq5woTxoDrLtOx_MukgL7EtjiaL3qchSeuJUVzEsWG2C0OQD9yx_m4xlSGekE8FLYjE6tx9LQmZ7EiWun3JbNrDrLp85pelU8EGudC0oU25zYDa6AKeLxD5hmndKHaVzkkNVoiGOeFWLcMqloPH9WzTIM0iMOWpHQPUiFGhICzik7dQ/w353-h470/supersnazz0002.JPG" width="353" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Supersnazz (Tomoko & Shoe)<br />Phoenix, AZ-Nov. 2001</td></tr></tbody></table><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">“From Home” is a dramatic supercharged girl-group gem with a dreamy melody. However, “From Home” is not the Troggs song of the same title (that was later covered by DMZ), but a Supersnazz original written by Tomoko that sounds strongly influenced by the said Troggs and “You Tore Me Down” Flamin’ Groovies. “I Wonder” is another successful Crystals/Ronettes cover (and they would go on to have many-including Captain & Tennille’s “Love Will Keep Us Together” that was included on an entire album of covers entitled </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><a href="https://www.discogs.com/release/7783152-Supersnazz-Sweat-Box" target="_blank">Sweat Box</a></span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">). Finishing the album off on a strong note, “Mr. Gee,” jubilantly extracts the ‘50s by way of the Ramones circa </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Leave Home</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">. Supersnazz reached new heights on </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Diode City</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"> by masterfully blending their varied influences into a distinct, vibrant and enduring sound. </span></span></p><div style="text-align: justify;"><span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAIswFkj9zKv-ndXIyzbjwDj-u1F3NLJDRLlKuPmBlNdgWlLfYHVCAtysx6XYQVWp2gPW0_r-c-gVaSwGjq9xdr_hCNsAcrUNPP7bU0-vv4Ria-vBE98vL78jUtenP-5OpN6c7fy8rtj6jTuGDMmVX6CeKSDiczqm4ISTbaGTvo7EMCvP36SAGLg/s600/rock%20juice%20cover.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="594" data-original-width="600" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAIswFkj9zKv-ndXIyzbjwDj-u1F3NLJDRLlKuPmBlNdgWlLfYHVCAtysx6XYQVWp2gPW0_r-c-gVaSwGjq9xdr_hCNsAcrUNPP7bU0-vv4Ria-vBE98vL78jUtenP-5OpN6c7fy8rtj6jTuGDMmVX6CeKSDiczqm4ISTbaGTvo7EMCvP36SAGLg/w400-h396/rock%20juice%20cover.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rock Juice logo illustration by Kame</td></tr></tbody></table><br /><div style="text-align: center;"><br /></div></span></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><b>Rock Juice</b>
Kame-Guitar (Machinicalis)
</span><span face="Arial, sans-serif" style="font-size: 14.6667px; white-space-collapse: preserve;">Tomoko-Bass (Supersnazz, Tweezers, the Bucketeers)</span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><div style="text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; white-space-collapse: preserve;">Mick-O-Drums (Machinicalis, Noble Surfers, Royal Fingers)
</span><span face="Arial, sans-serif" style="font-size: 14.6667px; white-space-collapse: preserve;">Tatsuya Inagaki (aka INA)-Guitar (Treeberrys, More Fun)</span></span></div><span style="font-family: arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><div style="text-align: center;"><br /></div></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Naming your group after a Flamin’ Groovies <a href="https://en.wikipedia.org/wiki/Rock_Juice" target="_blank">album</a> from 1992 is just one indicator of Rock Juice’s deep devotion to the Groovies. Further, a cyclical pattern emerges as Supersnazz took their name from the Flamin’ Groovies' first album. The sound and spirit of <a href="http://wendy-city.blogspot.com/2017/09/flamin-groovies-fantastic-plastic.html" target="_blank">the Groovies</a> undeniably permeates this entire release from the design through the layering of guitars to the song sequencing. Even their band logo is obviously rendered in Flamin’ Groovies/Cyril Jordan font. Fittingly, Rock Juice opens the album with a stellar cover of Flamin’ Groovies’ “Please Please Girl.” On this Jordan-Wison composition they quicken the pace, while striking a perfect chiming tone (stirring ‘60s folk rock meets ‘70s power-pop) that is embellished with folksy interweaving vocal harmonies. On a similar note, it also recalls the Groovies successfully speeding up the tempo on their cover of the Beatles’ “Misery” found on the</span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"> Shake Some Actio</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">n Lp. Not only does Rock Juice, like their forebears, record many covers that they make their own, they frequently draw from the same well as the Rolling Stones, NRBQ and Chuck Berry are all common denominators when it comes to covers on </span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Drink All Night</span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">. In live shows, they even cover Abba’s “Dancing Queen” as a strong melody is a strong melody! </span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHWmrvAeRxTZRoLUrYLAzhiBN6Ln3j5sj6HiRoiHNa_32oheB-8upZtEg54Yh9l-5MVv2Mb1sgy-qcXL38er6hueluSH0RDjjd4I1lxkF0QrRRX1USzOpWP4S2J5UOCtF6RDPT3x26_7g7GGduZZv5hPCkrz3gfD3Syo6R4XO1wg-Cw6xe7oZAFA/s1395/wildebeests.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1354" data-original-width="1395" height="389" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHWmrvAeRxTZRoLUrYLAzhiBN6Ln3j5sj6HiRoiHNa_32oheB-8upZtEg54Yh9l-5MVv2Mb1sgy-qcXL38er6hueluSH0RDjjd4I1lxkF0QrRRX1USzOpWP4S2J5UOCtF6RDPT3x26_7g7GGduZZv5hPCkrz3gfD3Syo6R4XO1wg-Cw6xe7oZAFA/w400-h389/wildebeests.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photos by Teppei Miki</td></tr></tbody></table><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: arial;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">From Supersnazz to Rock Juice, Tomoko has consistently been a versatile and solid songwriter and she continues to deliver two knockouts, “Lucky Girl” which has resemblance to the Muffs and the brisk, but unsparing “Lights On.” (I still wish to hear her country project the Bucketeers.) Inagaki (Ina) has written a minor classic anthem with “Stop Waiting for Rock “N” Roll.” It’s on the heights of their inspirational models the Sire-era Flamin’ Groovies. Their energy, execution and melodies and production are all in alignment on this striking debut. Rock Juice also convey a highly-developed sense of dynamics through both their guitar interplay and ambitious trade-off vocals. Overall, the record</span><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"> </span><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">is a conduit to the excitement, immediacy and surging energy still possible in rock ‘n’ roll. May they themselves continue to influence new generations of guitar driven Japanese bands like <a href="https://hazysourcherry.bandcamp.com/" target="_blank">Hazy Sour Cherry</a> and <a href="https://secretmissionrecords.bandcamp.com/album/shadows-and-lights" target="_blank">Flashlights</a> and let’s all hope for a follow-up album. They could even do an all-covers album of Flamin’ Groovies songs and in the process go full circle. </span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Arial, sans-serif" style="font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">
</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Arial, sans-serif; margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOq2DfH-7MsPm62TOzUws3jjk3OdiC8oQjNBDavuIoh3Kl54AlmxOqoEQUJZqr7iybiWq77Z4p_Irs1X5U05oHvQvs6MMJlJuZEdrWD0z8qjEJcgusfJey3ADzo78x2HtcWvGjaB-wsAgPe-PlQuVJBS2aIvQHtOvR04pnVmcby44ZR1uC4iJs1w/s600/group.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="600" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOq2DfH-7MsPm62TOzUws3jjk3OdiC8oQjNBDavuIoh3Kl54AlmxOqoEQUJZqr7iybiWq77Z4p_Irs1X5U05oHvQvs6MMJlJuZEdrWD0z8qjEJcgusfJey3ADzo78x2HtcWvGjaB-wsAgPe-PlQuVJBS2aIvQHtOvR04pnVmcby44ZR1uC4iJs1w/w444-h355/group.jpg" width="444" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rock Juice (L to R) Kame, Tomoko, Mick-O, Inagaki (aka Ina)<br /><br /></td></tr></tbody></table>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-25834290869541266072023-07-02T09:25:00.019-07:002023-07-02T12:49:46.788-07:00Trip On Me -Soft Psych & Sunshine (1966-1969)<div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8z9infCLglzVR2A89_7dcAV1bGyuLrf0QZWvw1rYsIDZT-52bdWqZROCN_TTi36_jKMuozA8T-Nf4ikTm8sMk9NgNu1MaboBBhTrJGbjcaLFuvSwlVeB2zsRn-1H1M8jt-Kfm6hV7y_GLdItkycE3qYsOyPBbGXL78qxTRB4cmgb1HSWZBNwQkg/s700/trip%20on%20me.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8z9infCLglzVR2A89_7dcAV1bGyuLrf0QZWvw1rYsIDZT-52bdWqZROCN_TTi36_jKMuozA8T-Nf4ikTm8sMk9NgNu1MaboBBhTrJGbjcaLFuvSwlVeB2zsRn-1H1M8jt-Kfm6hV7y_GLdItkycE3qYsOyPBbGXL78qxTRB4cmgb1HSWZBNwQkg/w400-h400/trip%20on%20me.jpg" width="400" /></a></div><br /><span style="font-family: arial;">Having heard literally hundreds of '60s soft pop compilations (e.g., <i>Lost Jukebox, Spiritual Obscurities, Fading Yellow, Soft Sounds for Gentle People</i>) over the last 20 years, the initial streaming of <i>Trip On Me</i> was pleasant, but seemed to slip by and get lost in the year-end 2022 shuffle. Revisiting this in summer 2023 has been an entirely different experience. This music was obviously made to be heard flowing through stereo speakers and not streaming through a phone or computer. Bringing it back to the stereo reveals the full dimensions of these recordings created during this transitional era of studio technology. The sound is presented in crystalline clarity since all these selections were sourced from the original master tapes, Returning to <i>Trip On Me</i> has provided additional exposure to a refined collection of California-made ‘60s sunshine pop. The collection spans the coast from Bay Area production houses (Trident) and its basement studio (Columbus Recorders) to the enterprising & adventurous Los Angeles independent record labels like Mira, Era and World Pacific. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div><div style="text-align: justify;"><span style="font-family: arial;">Curt Boettcher’s star glows brighter and brighter with each passing year. The years have also revealed how prolific he was at the time as his angelic voice continues to surface on stacks and stacks of demos and recordings. The previously unissued “Meadows and Flowers” appears with the full-on Boettcher’s majestical touches and embellishments even though it was produced by Gary S. Paxton. Besides being the Peter Pan and Peter Max of sunshine pop, Boettcher was also its maestro who could sonically stun Brian Wilson. <br /><br /></span></div></div><div><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/fNjnUiSUQEg" title="YouTube video player" width="560"></iframe><br /><br /><span style="font-family: arial;"><div style="text-align: justify;">An early exemplifier and standout track is “A Thousand Faces” by the Thousand Faces, who combine the Association’s “bah, bah, bahs” with the horns of the American Breed and the catchiness of a ‘60s airline jingle to lift off into sunburst skies. <br /><br /></div><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/GiED4pAqpjo" title="YouTube video player" width="560"></iframe><br /><br /><div style="text-align: justify;">As just mentioned, there were the countless groups who wanted to sound like the Association, while others who wished to emulate the good-timey phase of the Turtles and then there were the totally idiosyncratic and unclassifiable acts like the Candy Company. A song titled “Sugar Stone” by a group named Candy Company might lead one to expect a saccharine group that has a residency at a Farrell's Ice Cream Parlour. However, the Garden Grove quartet actually offers a bit of edge to their sound. They achieve this 1966 toughness through layers of vibes and chanted co-ed vocals propelled a Bo Diddley beat by way of the Strangeloves. Production was handled by the one and only Curt Boettcher.</div></span></div><div><div style="text-align: justify;"><span style="font-family: arial;"> </span></div><span style="font-family: arial;"><div style="text-align: justify;">One of the few songs I was previously familiar with was “P.S. Call Me Lulu” by the Primose Circus, which appeared on <a href="https://www.discogs.com/release/5278032-Various-Nuggets-Volume-Five-Pop-Part-III" target="_blank">Rhino’s Nuggets Vol 05 : Pop Part III</a>. I recall playing this cassette in my dorm room and a visiting mother from across the hall applauded my music. According to the detailed liner notes, the group formed at the top-tier Rice University in Houston.<br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: "Times New Roman"; margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYWN4aZSh_jge5EPoHtU6b5i2ZWmQpAxegaC2zaOiCU90zT2mb_fDloLmgnJYkUNeo0RoOeg4Cu4MmHvXs-iHnWtC9BYwtlCj_pulBWXMUWzDj9nMmSuYcY3T3XajqyOBvKwv9u0qf8aSgDTFMQ7WfnvlO4lQBZwJD-Folkx3kWCJb7tWmB-vcjQ/s600/third%20wave.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="599" data-original-width="600" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYWN4aZSh_jge5EPoHtU6b5i2ZWmQpAxegaC2zaOiCU90zT2mb_fDloLmgnJYkUNeo0RoOeg4Cu4MmHvXs-iHnWtC9BYwtlCj_pulBWXMUWzDj9nMmSuYcY3T3XajqyOBvKwv9u0qf8aSgDTFMQ7WfnvlO4lQBZwJD-Folkx3kWCJb7tWmB-vcjQ/w400-h399/third%20wave.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">The Third Wave</span><br /></td></tr></tbody></table><br />The initial draw of <i>Trip On Me</i> for myself was the hype sticker proclamation of previously unissued recordings from the Third Wave. The Third Wave sure was an apt name for a musical outfit comprised of five Third Generation Filapinas from Stockton, CA. They offer a rippling and corner-turning medley of Donovan’s “Three Kingfishers-Ferris Wheel.” This <a href="https://en.wikipedia.org/wiki/George_Duke" target="_blank">George Duke</a>-arranged number would also go over well with the <a href="http://wendy-city.blogspot.com/2006/08/wendy-bonnie-genesis.html" target="_blank">Wendy & Bonnie</a> listeners who appreciate a strong jazz foundation placed under soaring harmonies swirling in an overall air of mystery. </div></span></div><div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/NhdvkJU08es" title="YouTube video player" width="560"></iframe><span style="font-family: arial;"><div style="text-align: justify;"><br />“Going to San Diego” by the Pretty People is a new one to me and comes across as an amalgamation of the Beatles, the Beach Boys, Sergio Mendes and Mark Eric. The perirenal yearn/consideration to leave Los Angeles was just as present then as it is now. They state their intention to flee “soutless L.A. before the bitter end.” The Pretty People also released an entire album of jazzy harmony pop in 1969 that was produced by Dot Records’ founder and commander Randall Wood. Their “Song Rider” appears later on and includes the striking opening image: “Barreling down the highway/Donut & coffee…a truckstop” as it rides a bubbling organ and surging bass to make it <i>to and in</i> L.A. town. Big and bursting Buckinghams-like horns send this song over the top and down into the valley of dreams and despair. </div></span></div><div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><span style="font-family: arial;"><div style="text-align: justify;"><span style="font-family: arial;">During the most musically wonderful of decades, the Golden Coast was teeming with producers, engineers, arrangers, labels and musicians who acted as conduits for the abundant California creative energy. They utilized the studio as an instrument and sent the sound in different and unpredictable directions. Overall, it's the alluring and vibrant sound on the verge of making it by groups who quickly appeared & vanished before and during the great unraveling. While none of these recordings landed in the national Top 40 or even bubbled under in the Top 200 and some never released, they all continue to shine over a half-century later as they resurface and come to light.</span> <br /><br /><div style="text-align: center;">Further explorations:</div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoIiqnUsyvdoS9VKvfiaPt1hFgdxSFoOWdihpHOO79MKiVO2_H_1VFkr1ioYg4daprj7EfVSUvUj7PzZ8pSlMQ0sq7skX6vKHyvmB-0OZkKVWtRZZegoLDCACSfZtVuQsl8NRt5NaguHzgWEbJX8JD39l8iyhOO3ONLPTtjEvUfXkjDExZW6b6PA/s599/book%20a%20trip.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="596" data-original-width="599" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoIiqnUsyvdoS9VKvfiaPt1hFgdxSFoOWdihpHOO79MKiVO2_H_1VFkr1ioYg4daprj7EfVSUvUj7PzZ8pSlMQ0sq7skX6vKHyvmB-0OZkKVWtRZZegoLDCACSfZtVuQsl8NRt5NaguHzgWEbJX8JD39l8iyhOO3ONLPTtjEvUfXkjDExZW6b6PA/s320/book%20a%20trip.jpg" width="320" /></a><br /></td></tr><tr><td class="tr-caption" style="text-align: center;">Book A Trip - The Psych Pop Sounds Of Capitol Records</td></tr></tbody></table></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkx0a--HEtVkIQ7Tb6_GSZcCXupaSkHZ_FXxKw2JTJHemr3lUqSe638-axUGU436QDzDtOgpdruZ0wrRDeW-gCTkfbdQAUgQw1fa4zh6nxgQvx76mjgxiBgJz-2n-pne1AeRckTZr1T-od4FZluTyn__TrmBQR1IIxZDQNZbqnfl9vT8Qfn6JXyA/s597/Book%20a%20trip%202.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="597" data-original-width="596" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkx0a--HEtVkIQ7Tb6_GSZcCXupaSkHZ_FXxKw2JTJHemr3lUqSe638-axUGU436QDzDtOgpdruZ0wrRDeW-gCTkfbdQAUgQw1fa4zh6nxgQvx76mjgxiBgJz-2n-pne1AeRckTZr1T-od4FZluTyn__TrmBQR1IIxZDQNZbqnfl9vT8Qfn6JXyA/s320/Book%20a%20trip%202.jpg" width="319" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Book A Trip 2: More Psych Pop Sounds Of Capitol Records</td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyQjKi4NaYTNW2I1uV80sdTGV2DHvqIbwmMNBmBxxLeioiY-KZOg-oD7a56hEEG2myyn77fR4tYbKgsvLixkhsdgepk3Um3CXx9uvppaLOOhxhYfAjm0HT1eit9W6af39Af1HURit9o3r5G__Y5-Eebzvnq9mS02NlDWCx1evZDInIE8P_7Tvl9Q/s408/curt%20boettcher.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="408" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyQjKi4NaYTNW2I1uV80sdTGV2DHvqIbwmMNBmBxxLeioiY-KZOg-oD7a56hEEG2myyn77fR4tYbKgsvLixkhsdgepk3Um3CXx9uvppaLOOhxhYfAjm0HT1eit9W6af39Af1HURit9o3r5G__Y5-Eebzvnq9mS02NlDWCx1evZDInIE8P_7Tvl9Q/s320/curt%20boettcher.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Curt Boettcher & Friends-Looking For The Sun</td></tr></tbody></table></span></div>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-82087793984446388122023-05-15T15:36:00.023-07:002023-05-16T06:49:48.667-07:00Hakan-Hakan Manifesto<p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: 11pt;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT8ISt7ueg7sgWkqIf6rW3Rv0JMhbdx9sztzBUq2rtjRT-o0Ne_OFdDG1Or9DgZLsAeYKsMHASCjl7FU4a--0l6w36FslakCCiRzZk7A0Qoeai0rTYUndsoaucPED7kANINe1uD7oRz5ocrZX0Ogf95L6THxvGqJ5UeCLvMZq5SoLj3pkOdu0/s1796/Hakan%20flower%20water.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="821" data-original-width="1796" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT8ISt7ueg7sgWkqIf6rW3Rv0JMhbdx9sztzBUq2rtjRT-o0Ne_OFdDG1Or9DgZLsAeYKsMHASCjl7FU4a--0l6w36FslakCCiRzZk7A0Qoeai0rTYUndsoaucPED7kANINe1uD7oRz5ocrZX0Ogf95L6THxvGqJ5UeCLvMZq5SoLj3pkOdu0/w544-h249/Hakan%20flower%20water.jpg" width="544" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Andrea Carminati (Guitar, Vo.), Andrea Facheris (Bass, Vo.), Marco Facheris (Drums, Vo.)</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: 11pt;"></span></span></div><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: 11pt;">Hakan, which is Turkish for Supreme Ruler/Great King/Emperor, reigns supreme on their fourth full-length. The band hails from tip-top Northern Italy and is from the vibrant and viable city of Bergamo to be exact. Bergamo is located just south of the Italian Alps and only 20 miles from the border of Switzerland. The trio could be characterized by their direct and straight-up-the-middle sound that immediately brings to mind Screeching Weasel and the Marked Men. </span><span style="font-size: 11pt;">There is also an European inflection to their English vocals that recalls the Richies, while the music evokes (power) trios like Hüsker Dü (Warner-era), Scared of Chaka, <a href="https://thelivermores.bandcamp.com/album/the-livermores" target="_blank">the Livermores</a>, the Riverdales and <a href="https://thelifeforms.bandcamp.com/album/-" target="_blank">the Lifeforms</a>. </span></span></p><div style="text-align: justify;"><br /></div><span id="docs-internal-guid-1ff38121-7fff-155d-d350-ddba3690f2b5"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b>Spanning the Globe </b></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: white; color: #404040; font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Perhaps influenced by their reemergence as globe-trotters, this album presents their lyrics going out beyond their previous insularity and towards a more stabilized and expansive worldview. </span><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">They also exhibit a Romantic quality and somewhat hopeful outlook in their lyrics. In fact, I have not heard this approach of delivering remarkable melodies hinged upon a wall of jack-hammer guitars so successfully executed since the early years of the Smoking Popes.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB7SgLSfGoo7yVhVtErEixvbEdSOkylTtlWbX4DlYjEyPtLTYkNkDH5SzKzcO9QdRFn2db2MNrgZWyRscmAB-_VIIByxDooLy85g_qkwX03jGOBkQVcutYriEPmrwaZfyPLCMz0Ic7dmTw6dzRysfd1s62DHnHiRAJ9fh0o0IsGfO5l6v4H_k/s749/hakan%20fish.jpg" style="font-family: "Times New Roman"; font-size: medium; margin-left: 1em; margin-right: 1em; white-space: normal;"><img border="0" data-original-height="640" data-original-width="749" height="377" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB7SgLSfGoo7yVhVtErEixvbEdSOkylTtlWbX4DlYjEyPtLTYkNkDH5SzKzcO9QdRFn2db2MNrgZWyRscmAB-_VIIByxDooLy85g_qkwX03jGOBkQVcutYriEPmrwaZfyPLCMz0Ic7dmTw6dzRysfd1s62DHnHiRAJ9fh0o0IsGfO5l6v4H_k/w442-h377/hakan%20fish.jpg" width="442" /></a></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><i><a href="https://hakanbeibi.bandcamp.com/album/hakan-manifesto" target="_blank">Hakan Manifesto</a></i> is their first album produced by </span><span style="background-color: white; font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Matt Bordin of the Mojomatics after two albums helmed by Jeff Burke of the Marked Men. The addition of Bordin </span><span style="background-color: white; color: #404040; font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">has created a little more space around their mean & lean sound and has them stretching out in good ways</span><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. Thankfully, they have been able to retain a scruffy and scrappy edge that </span><span style="background-color: white; color: #404040; font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">remains true </span><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">to the sounds and ethos of the early Ramones and their own formative years.</span></p><div style="text-align: justify;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: white; color: #404040; font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Thrown for a Loop </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The opener “Hakan is a Dream” for some reason reminds me of major label Meat Puppets and “Backwater” in particular or even the general gruff vibe of New Jersey’s the Ribeye Brothers. Next, t</span><span style="background-color: white; color: #404040; font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">hese bike punks ride the fine line between punk, power-pop and rock ‘n’ roll on sensational and streamlined numbers like “Just One Kiss” and “Number One.” </span><span style="background-color: white; font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">When I was watching their <a href="https://www.youtube.com/watch?v=i-TDzkn7CIA" target="_blank">“Just One Kiss” video</a>, I noticed the featured bike cafe looked familiar and then I recall it was the “Bikefellas” cafe where <a href="https://www.punkrockraduno.com/interviews/larry-livermore-italy-and-me-from-punk-rock-raduno-4-fanzine-2019" target="_blank">Larry Livermore</a> appeared and presented in 2019</span><span style="background-color: white; font-family: Arial; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">.</span></p><div style="text-align: justify;"><br /><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2909336863/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1325002583/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://hakanbeibi.bandcamp.com/album/hakan-manifesto">Hakan Manifesto by Hakan</a></iframe><br /><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2909336863/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3351381769/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://hakanbeibi.bandcamp.com/album/hakan-manifesto">Hakan Manifesto by Hakan</a></iframe>
<b>Bike 'n' Roll</b>
They are indeed into bicycling as they make clear in their ode “Bike Life.” When they intone: “I don’t care about your Ultegra/Cause it’s the leg yo,” they are referring to a bicycling “groupset” aka components made by Shimano, while also making a statement that it’s never about the equipment. Mentions of descending Maresana Hill (a huge hill north of their home city of Bergamo) before somehow reaching the </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">comune</span><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (township) of Alzano Lombardo and maybe the </span><span face="Roboto, sans-serif" style="background-color: white; color: #5f6368; font-size: 10.5pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">frazione</span><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (subdivision) of Nese appears later in their travelogue. The stripped-down guitars continue to churn as striking numbers like “Turkish Delight Boy” (inspired by a trip to Istanbul) and “Ruined Day” recall Ben Weasel’s underrated <i>Fidatevi</i> </span><span style="font-family: Arial;"><span style="font-size: 11pt; white-space: pre-wrap;">album from 2002. On a related note, “Funny” contains the deadpanned realization, “Hakan on Lookout, it's not 94” as the music races ahead.
</span></span></p><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial;"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP2x1AUnmW7Rw99Rqv28h4RaIY9ItEK4HScqMBpubSq05nuQt9DQ-ba25VOqCZjLC5I1VBehruWE6xLFeVGcYnJ_UISIqANLg7pE_VmIYL3TLV0nwVcbe6DNRTqdRVf45d-iF9xsIl-Z25a6Tk9YiWeUseu2G1kNKt7KW4vz5eJaaDcwjtccg/s1024/Hakan-bikes.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="683" data-original-width="1024" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP2x1AUnmW7Rw99Rqv28h4RaIY9ItEK4HScqMBpubSq05nuQt9DQ-ba25VOqCZjLC5I1VBehruWE6xLFeVGcYnJ_UISIqANLg7pE_VmIYL3TLV0nwVcbe6DNRTqdRVf45d-iF9xsIl-Z25a6Tk9YiWeUseu2G1kNKt7KW4vz5eJaaDcwjtccg/w555-h370/Hakan-bikes.jpg" width="555" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hakan III</td></tr></tbody></table></span></div></div><p></p><div class="separator" style="clear: both; text-align: left;"><b style="font-family: Arial; font-size: 11pt; text-align: justify; white-space: pre-wrap;">The usual Aldi Weirdness</b></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In “Good Night” they take a page out of Sam Cooke’s “Wonderful World” book about studying philosophy and attending lectures on architecture in order to win one’s affection. Later, there is a mention of enduring the long queue at Aldi in the name of love. (Who knew a decade back that Aldi would now have such a presence in the U.S.A. due to the inflated inflation?)</span></p><div style="text-align: justify;"><br /><b style="font-family: Arial; font-size: 14.6667px; white-space: pre-wrap;">It's An Uphill Climb To The Bottom</b></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: white; font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">After 3 albums of somewhat scattershot lyrics, Hakan have reached a new echelon with their songwriting. Along with their long-standing passion for Turkish popular culture, they adeptly extract parts of their day-to-day quoitain experiences and throw them into the lyrical blender. They also continue their self-mythologizing by celebrating their own band with thematic songs, while pointing out local color and local characters. </span><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In “Hakan Manifesto” the particular line: “We are fans of Roby Pooh” had me discovering the famous Italian band Pooh and their keyboardist Roby Facchinetti (as they were not included on the<a href=" https://gethip.com/releases/various-artists-60s-beat-italiano-gh-5004-cd/" target="_blank"> 60’s Beat Italiano</a> compilation). These boot-beat merchants have been going since 1966 and were actually named after Winnie-the-Pooh!</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="font-size: 11pt; white-space: pre-wrap;">
</span><b>Wahu!</b></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The cadence and structure of <a href="https://hakanbeibi.bandcamp.com/track/stezzanism" target="_blank">“Stezzanism”</a> reminds me of the Freezing Hands’ <a href="https://thefreezinghands.bandcamp.com/track/comeback-kid-hits-the-skids" target="_blank">“Comeback Kid (Hits the Skids”)</a>, while the speedy vocals and unbridled energy of “I’m Burnt” spurred me to bring out the the Basement Brats discs on the shelf. The closing song, “Here With You” moves them in the <i>Automatic</i> direction of Jesus & Mary Chain.
</span></p><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2909336863/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3877590103/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://hakanbeibi.bandcamp.com/album/hakan-manifesto">Hakan Manifesto by Hakan</a></iframe><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: white; color: #404040; font-family: Arial;">
<i style="font-size: 11pt; white-space: pre-wrap;">
<a href="https://hakanbeibi.bandcamp.com/album/hakan-manifesto" target="_blank">Hakan Manifesto</a></i><span style="font-size: 11pt; white-space: pre-wrap;"> has them reaching new lyrical plateaus, while thankfully retaining their propulsive and captivating sound. Along with their inherent knack for seesawing melodies, they have intertwined their upgraded lyrics with an even more pronounced pop sensibility. All of these elements are combined to make this their most fully-realized album yet.
</span></span></p><div style="text-align: center;"><span style="background-color: white; color: #404040; font-family: Arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifrI3DsE7VY2Gn-F6hv3UsDUX91J4cxwmFQBPsv3TE_kaTYk7Dq-eQTRUEuo4Kilfh7yM5_FVSYXMc7QR8554mmjmlMm2xL9tM7yYVLwP8EPyUQ3bB7lH_ZWJiN3DO2EebgToncrm-xcLtziSdpSa_RKKOzL3_v1nfLI0241R4Ybxx5vC4qFk/s1440/hakan-sweden.jpg" style="font-family: "Times New Roman"; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1440" height="383" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifrI3DsE7VY2Gn-F6hv3UsDUX91J4cxwmFQBPsv3TE_kaTYk7Dq-eQTRUEuo4Kilfh7yM5_FVSYXMc7QR8554mmjmlMm2xL9tM7yYVLwP8EPyUQ3bB7lH_ZWJiN3DO2EebgToncrm-xcLtziSdpSa_RKKOzL3_v1nfLI0241R4Ybxx5vC4qFk/w510-h383/hakan-sweden.jpg" width="510" /></a></span></div><p></p></span>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-19869357767929344562023-05-01T09:30:00.028-07:002023-05-08T07:02:33.675-07:00Desert Edges of Doo Wop <p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqjh6dIcBrsyAQSLn79i1E8HWYarjR2fQg5CxwD4UH-C7YPteGBJ2nAM_sm53pNCRmEf5RzZZ3TC_LoGR5wGAi97M9qJlEXmuFt4MqwV2jhu9zljpcmDO4LSbuZC0vSTj3ephbPTtoNpkKQQMdDxeKVX6hwzef2R4p4aSzNFCvQGecri_OChc/s1600/Intersection_I-10_and_I-15_CA_USA.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="953" data-original-width="1600" height="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqjh6dIcBrsyAQSLn79i1E8HWYarjR2fQg5CxwD4UH-C7YPteGBJ2nAM_sm53pNCRmEf5RzZZ3TC_LoGR5wGAi97M9qJlEXmuFt4MqwV2jhu9zljpcmDO4LSbuZC0vSTj3ephbPTtoNpkKQQMdDxeKVX6hwzef2R4p4aSzNFCvQGecri_OChc/w574-h342/Intersection_I-10_and_I-15_CA_USA.jpg" width="574" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">I-10/I-15 interchange in Ontario, CA</td></tr></tbody></table><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><b style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">Pre-ramble</b></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">While recently in the greater Los Angeles area where San Bernardino, Riverside, L.A. and Orange Counties overlap, the only thing I could listen to in the rush of traffic was classical on KUSC. However, recollections were spurred along congested Interstate 10 as it continued east into San Bernardino-namely the music of the Turtles and Frank Zappa. It is in this no man’s land that the California air takes on an overall darker hue due to pollution and the industrial nature of the area. (When I left California in 2007, I realized that the Jan and Dean I was listening to driving up Kellogg Hill in West Covina did not mean anything at all to California.) With apologies to <a href="https://www.theguardian.com/cities/2016/aug/24/radical-alternative-reyner-banham-man-changed-perception-los-angeles" target="_blank">Reyner Banham</a>, the congested raceway heads into San Bernardino where the <a href="https://vimeo.com/22488225" target="_blank">all-encompassing</a> built environment sprawls outs </span><span style="font-size: 14.6667px; text-align: left; white-space: pre-wrap;"><span style="font-family: Arial;">indiscriminately </span></span><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">beyond human scale.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">
</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/vBmgq0IqJy8" title="YouTube video player" width="560"></iframe>
</span></p><span id="docs-internal-guid-bd4bb14f-7fff-922d-a09f-b6b4a2ad5b3f"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">
Happened to be in the Area</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Plain Wrap were another group who acknowledged and sardonically expressed the frustration and futility of the rat race in their song “Traffic.” They were a Dickies-Descendents-ish melodic punk band from Placentia who had one album released by Enigma Records in 1985. The song succeeds in almost articulating the seemingly incomprehensible by taking the route of humor. Their lead singer Dallas Don Burnet would later go on to release a pretty much unknown, yet totally solid solo album in 2012 under the clever and optimistic title </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Cancel My Disappointment</span><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">.
</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"></p><div style="text-align: center;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span><b style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2625945350/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/track=3608832583/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="https://dallasdonburnetlrc.bandcamp.com/album/cancel-my-disappointment">Cancel My Disappointment by Dallas Don Burnet</a></iframe></b></div><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><div style="text-align: justify;"><span id="docs-internal-guid-bd4bb14f-7fff-922d-a09f-b6b4a2ad5b3f" style="font-family: "Times New Roman"; font-size: medium; text-align: left; white-space: normal;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><div style="text-align: justify;"><br /></div><p style="text-align: justify;"><span style="background-color: white; color: #2b2b2b; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><b>Anyway the Wind Blows</b>
It’s only in the last five years that I have finally started to "get" some of Zappa and the Mothers of Invention due to choice selections played on WFMU’s <a href="https://wfmu.org/playlists/PQ" target="_blank">Big Planet Noise</a>. </span><span style="background-color: white; color: #2b2b2b; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Freak Out!</span><span style="background-color: white; color: #2b2b2b; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> is actually a lot more song-oriented and structured than the all-out Dada and theatrics that I was expecting. Being in the Mothers’ old stomping grounds, one can still sense the major swirls and their influences in the air. In fact, “Anyway the Wind Blows,” “Trouble Every Day” and “The Orange County Lumber Truck” continue to speak volumes to the situation here in the ‘20s. Further, </span><span style="background-color: white; color: #2b2b2b; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Is it any wonder</span><span style="background-color: white; color: #2b2b2b; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> that Flo & Eddie would go on to join the Mothers of Invention? While the aforementioned musicians take vastly different approaches, they all share the same impetus to encapsulate and express the absurdity of this way of life with some much needed sense of levity and perspective.</span><span style="background-color: white; color: #2b2b2b; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> </span></p></span></span><div style="font-family: "Times New Roman"; font-size: medium; text-align: left; white-space: normal;"></div></div></span></span><div><span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4O1xmaJWj9MiaJHpMnXJ8r1UH4l2Kq8Y668x1y6UpWZE21JVac2bFa2b765EVlf5U5kOw7FH0o-uHjP90pmKI68IrTWmzAiEujl8iG7g_4Y5LQfncxqGFRFaRdnlUkNWE4gvNpqCPlnU3xFYp30qFnfO_a8Nr7H0wn8xqjzNF5chOe8ETqVc/s1400/ruben%20jets.jpg" style="font-family: "Times New Roman"; font-size: medium; margin-left: 1em; margin-right: 1em; white-space: normal;"><img border="0" data-original-height="1395" data-original-width="1400" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4O1xmaJWj9MiaJHpMnXJ8r1UH4l2Kq8Y668x1y6UpWZE21JVac2bFa2b765EVlf5U5kOw7FH0o-uHjP90pmKI68IrTWmzAiEujl8iG7g_4Y5LQfncxqGFRFaRdnlUkNWE4gvNpqCPlnU3xFYp30qFnfO_a8Nr7H0wn8xqjzNF5chOe8ETqVc/w400-h399/ruben%20jets.jpg" width="400" /></a></span></p><span style="font-family: Arial; font-size: 14.6667px; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><div style="text-align: justify;"><span style="font-size: 11pt; font-weight: 700;">
Still Feeling the Aftershocks</span></div></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Vocal group harmony was such a prevalent and pervasive influence on the Mothers, that they naturally became latter day champions of a sound that was then not exactly <i>au courant</i> according to the avant garde, the self-proclaimed hip and the </span><span style="background-color: white; color: #0f1111; font-family: Arial; font-size: 10.5pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">cognoscenti. </span><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Including “Go Cry on Somebody Else’s Shoulder” on </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Freak Out!</span><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> and releasing an entire concept album </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Cruising with Ruben & the Jets </span><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">were pretty bold countervailing moves for ‘66-’68. <i>Cruising</i>... could also be heard to be all part of a continuum and a conduit to a sound both earthy and otherworldly. (With their ardent love and devotion to the streetcorner sound, Frank Zappa and Lou Reed had more in common than the musical adversaries were both willing to admit.) </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><b>Beyond Pledge Drives</b></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">With a majority of its singers, creators and original listeners no longer around, the original Doo Wop groups and sounds have been largely cast aside in its country of origin once again after its last resurgerence during the reissue heyday of the ‘90s. The recordings were then encoded onto compact disc and successfully sold in the form of Rhino’s Doo Wop box sets or even the numerous "discount" releases offered by Collectables. PBS did what it could at a national level with their pledge-drive specials, while <a href="https://www.youtube.com/watch?v=Ka93Ns-XMyc" target="_blank">Jerry Blavat</a> and Art Laboe kept the sound alive on regional levels as legendary disc jockeys and personalities. As far as Doo Wop in this century, I have fond memories of the Mighty Echoes opening up for <a href="http://wendy-city.blogspot.com/2008/02/blog-post.html" target="_blank">Jonathan Richman</a> at Safari Sam’s in Hollywood in 2007. One of my favorite Doo Wop-influenced acts here in the ‘20 are <a href="https://coolestsound.jp/Jintana_Emeralds_Emerald_City_Guide/2021.09.12/013932/" target="_blank">Jintana & Emeralds</a> who hail from Tokyo and have a highly-</span><span style="font-family: Arial; font-size: 11pt; text-align: left; white-space: pre-wrap;">stylized, balmy and </span><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">dreamy</span><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"> sound. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJiEU2Tr3hYeikSxyH9BuKNpgabp829wJNQ5XAz3REXm9o1HhcdMEmScHyzi_Ea2kvenuXQbSqwmlsXUu7LRui1TrRL_k-DV_ADxGwRbM24B5DTPP9H28l8hSutEwphqxUFoIn1sadbQqEHo0mW1KteYMuxpBS6vkPSrgqxYTHCe0B81nhkzg/s640/jintanta%20&%20emeralds.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="640" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJiEU2Tr3hYeikSxyH9BuKNpgabp829wJNQ5XAz3REXm9o1HhcdMEmScHyzi_Ea2kvenuXQbSqwmlsXUu7LRui1TrRL_k-DV_ADxGwRbM24B5DTPP9H28l8hSutEwphqxUFoIn1sadbQqEHo0mW1KteYMuxpBS6vkPSrgqxYTHCe0B81nhkzg/w400-h400/jintanta%20&%20emeralds.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jintana & Emeralds' 2nd full-length Lp from 2022</td></tr></tbody></table><p></p><p></p><div style="text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-weight: 700; white-space: pre-wrap;">Rama Lama Ding Dong</span></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The harmonies of the vocal groups were able to soar thanks to a strong melodic foundation being efficiently propelled by continuous triplets galore. Nonsense syllables provided both hooks, while zig zagging the songs in different directions and echoes ricocheted off the walls. </span><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">Unbridled joy and sorrow and everything between is expressed by the lyrics. Lastly, the layered vocal parts combined with minimal instrumentation added dimension, shade, contrast, while also dispelling the darkness. Successfully combining these moving parts resulted in urban hymns of spare elegance and deceptive simplicity that expresses an unmistakable American sound. Sometimes it’s austere and subtle, other times over-the-top and enthralling and occasionally the sound lifts off </span><a href="https://www.scrammagazine.com/the-haunted-hallways-of-the-high-llamas-by-jonathan-donaldson/" style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;" target="_blank">the streets</a><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"> to the stars. With lyrics typically focusing on elemental aspects that are usually taken for granted (e.g., moon, stars, love) it can hopefully spur listeners towards retaining a sense of wonder. </span><span style="font-family: Arial; font-size: 14.6667px; white-space: pre-wrap;">Overall, Doo Wop is an evocative, atmsopheric nightfall music, with the best exploring emotional heights and offering transcendence. </span></p><div style="text-align: justify;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBjN1thwB_UkeS6IoLujB_gdYIrkqPtAhRaPvdZ6l0bS5dDaryjom5Fsarv6Vf4j-LVo7mO1TbVc-dXDikHzuOYgDgPKahjcjXO2v137uOfpwbkCKBajF63rFRYSusVO-7I1k_YOK0ERZvWpcLoe_bYmeDiuvuLFk3CnSkeYXEhQTbqAsnUHY/s1200/this%20love%20was%20real.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBjN1thwB_UkeS6IoLujB_gdYIrkqPtAhRaPvdZ6l0bS5dDaryjom5Fsarv6Vf4j-LVo7mO1TbVc-dXDikHzuOYgDgPKahjcjXO2v137uOfpwbkCKBajF63rFRYSusVO-7I1k_YOK0ERZvWpcLoe_bYmeDiuvuLFk3CnSkeYXEhQTbqAsnUHY/w400-h400/this%20love%20was%20real.jpg" width="400" /></a></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">
West Coast Doo Wop </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">An entire compilation of rare Los Angeles Doo Wop is not something you see usually featured and/or reviewed in this digital age. Give credit to Ace Records for releasing this well-deserved and designed collection. One of the standouts is Arthur Lee Maye’s “Last Night.” </span><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">This previously unissued rarity recently surfaced as an acetate provided by its producer Arthur Wright. The singer of this dusty diamond, <a href="https://spectropop.com/ArthurLeeMaye/" target="_blank">Arthur Lee Maye</a>, also had a stellar career in Major League Baseball as <a href="https://spectropop.com/ArthurLeeMaye/" target="_blank">Lee Maye</a>. Immediately following is another obscurity involving another leading figure. “A Long Time Alone” showcases Danny (aka Sly) Stone’s “golden child” talents. This deeply affecting record is the beginning of a long journey with many ascents, descents and detours to come. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOmbHSwp2cBJ8okxCTKR8HgFRrYkZz3PA8FK7eUBnPcPQguK4Ljmgpm5EsEtK9FsKK3P2ipPhnuNlqK_GAUgY_PmJ-iwUYhH9LKASrcbwJIEByU6Bn-55G5GGU2Hsier5M6C_zy4pW_TEZV3qv08_NuANnWqICyzd3-x94ixssNByL4EnCwqU/s1500/Lee%20Maye%20Astros.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="1192" height="419" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOmbHSwp2cBJ8okxCTKR8HgFRrYkZz3PA8FK7eUBnPcPQguK4Ljmgpm5EsEtK9FsKK3P2ipPhnuNlqK_GAUgY_PmJ-iwUYhH9LKASrcbwJIEByU6Bn-55G5GGU2Hsier5M6C_zy4pW_TEZV3qv08_NuANnWqICyzd3-x94ixssNByL4EnCwqU/w333-h419/Lee%20Maye%20Astros.jpg" width="333" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lee Maye in the Astrodome</td></tr></tbody></table></div><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 14.6667px; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 14.6667px; white-space: pre-wrap;">Some “Last Date” piano stylings break up the formula and sets “Eternal Love” by Cordials apart from the usual fare. The group, who transplanted to L.A. from Boston, would later go on to change their name to the Stompers and record for <a href="https://www.discogs.com/label/71371-Landa-Records" target="_blank">Landa Records</a>. (On a related note, Landa featured some of my favorite graphic design that has ever appeared on a 45 record.) Surprisingly, the Cordials also featured Bobby (Boris) Pickett of “Monster Mash” fame in their lineup. The Dandevilles’ “Psychology'' includes almost as many “Don’t Wannas” as the Ramones, while “Jolly Green Giant'' has the Valaquans testing the rock ‘n’ roll waters before before later becoming an Impressions-ish soul combo. Another highlight is the striking <a href="https://www.youtube.com/watch?v=bDn12LWIURU" target="_blank">“Hold Me”</a> by Dorothy Berry & the Swans. Dorothy Berry was the wife of Richard Berry of “Louie Louie'' fame. In addition, Richard Berry himself is said to provide the basso profuno on this Vanco release that was composed by Etta James. Another intriguing element is the wiry, taunt and pronounced guitar that sounds like a jaw harp heard throughout the recording. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 14.6667px; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSwFeG3U0Sdwttr63dZCkeA6fbJNKLDfym9QDg-9W3pPhBw_hGDETDneUmOsWgW1EkmGaWxforGCEe0LNCTVPs2229AS40VbuK1fJpeImpsNxQugMjJMa7ibxEbamLjYjWCpnxX9L1kR9aWKMxJk6WGkBTfj04Zg6lmnCzwtNsz_0OtVdCj9s/s1106/tads-001.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1106" data-original-width="487" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSwFeG3U0Sdwttr63dZCkeA6fbJNKLDfym9QDg-9W3pPhBw_hGDETDneUmOsWgW1EkmGaWxforGCEe0LNCTVPs2229AS40VbuK1fJpeImpsNxQugMjJMa7ibxEbamLjYjWCpnxX9L1kR9aWKMxJk6WGkBTfj04Zg6lmnCzwtNsz_0OtVdCj9s/w282-h640/tads-001.JPG" width="282" /></a></div><br /><p></p><span style="font-family: Arial; font-size: 14.6667px; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><div style="text-align: justify;"><span style="font-size: 11pt; font-weight: 700;">Call and Response</span></div></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Jades’ soothing “When They Ask About You” is reminiscent of the Flamingos’ “Only Have Eyes For You” with their take on the “doo-bop sh-bop” background responses. Elsewhere, James Lee Washington’s “I Need Somebody” jumps into this century in sensational fashion. This 1962 mini-masterpiece evokes Ronnie Spector and her wonderful “whoa whoa whoa'ing”, as she channels her inner-Frankie Lymon. Coincidentally, </span><span style="background-color: white; color: #0f0f0f; font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">James Lee Washington’s real name is Morris Chestnut and he’s the father of actor Morris Chestnut Jr.-who made his film acting debut in</span><span style="background-color: white; color: #0f0f0f; font-family: Arial; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> Boyz n the Hood.</span></p><div style="text-align: justify;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">The Road to Los Angeles</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Not everything is top-tier, but overall </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">This Love is Real</span><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> is a solid retrospective that plays well on the whole with its superior sound quality sourced from the original master tapes. The labyrinthine history of these obscure records and groups is straightened out in the comprehensive liner notes accompanied by fitting graphics and rare photos. Again, Ace Records is due recognition for their commendable coverage of this mostly overlooked, but pivotal era of Los Angeles music history of Doo Wop transitioning to Soul.
</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTGYI_kWZc4Jmf3RXWryN4rSIMRvYlfy8ln_ErkZqrOl-CgGA95J_sPTxZtNNYGKi7U1f_kbhrrYStcIUnf6kemc_S0WwzqLpoGwOopowlOueuaHaZ0PZxNeLFBmalnbTNSWleDLH303P7615yW0xgmTREUdWORgQ0daOlKghZZXHK67wiYlg/s600/tads-proof-1-600x599.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="600" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTGYI_kWZc4Jmf3RXWryN4rSIMRvYlfy8ln_ErkZqrOl-CgGA95J_sPTxZtNNYGKi7U1f_kbhrrYStcIUnf6kemc_S0WwzqLpoGwOopowlOueuaHaZ0PZxNeLFBmalnbTNSWleDLH303P7615yW0xgmTREUdWORgQ0daOlKghZZXHK67wiYlg/w400-h399/tads-proof-1-600x599.png" width="400" /></a></div><div style="text-align: center;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Desert Center of Attention</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Moving over to Phoenix, the Tads were a versatile combo led by singer, songwriter and guitar player Leroy Fullylove.</span><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><a href="https://azmusicdude.com/leroy-fullylove-the-tads-your-reason/" target="_blank">Released</a> on Valentine’s Day 2023, this collection presents 30 tracks, recorded between 1956 and 1962, straddling the blurry line between R&B and vocal group harmony. The Tads were always my favorite when they previously appeared on Arizona-centric various artists collections like </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Desert Doo Wops</span><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> and </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Sha-Boom Bang! </span><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">It’s great to have this well-sequenced definitive collection including rarities, demos and alternate takes, which reveals additional aspects, facets and the prodigious talents of Leroy Fullylove. They were a classic vocal quartet with solo lead and harmony backing who both played in and overlapped the prevailing styles of the day. Their records spanned the range from the raucous and rough-hewn through melodic pop to brooding balladry. Leroy Fullylove and the Tads could even be compared to the legendary Nolan Strong & the Diablos.</span></p><div style="text-align: justify;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b>Ring Chimes</b>
They have the distinction of being the first Black group to record for Randy Wood’s Dot Records and also the experience of auditioning for Bumps Blackwell’s Speciality Records in Los Angeles. The Tads got off to a promising and quick start in 1956. The group’s first release, “The Pink Panther” was composed and produced by future legend Lee Hazlewood. Hiding on the flipside is the hushed and heartfelt “Your Reason” that reflects the group's gospel beginnings as the Crusaders. This ballad contains the imploring line sung with candor: “I tried so hard to do my best.” “I Want to Know” continues their sound in the realm where the secular seems somewhat influenced by the spiritual. The ultra-catchy <a href="https://www.youtube.com/watch?v=3rKKHZnDHr0" target="_blank">“Ring Chimes”</a> with its skip-a-long tempo and underlying tropical rhythm could have been on one of the aforementioned Rhino box sets.
</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/3rKKHZnDHr0" title="YouTube video player" width="560"></iframe>
“Ring Chimes” is actually a cover from an Ohio-based group named the <a href="https://www.youtube.com/watch?v=hNdZ7ZWF5iQ" target="_blank">I.V. Leaguers</a> who recorded for Dot Records. The song would also be covered by <a href="https://www.youtube.com/watch?v=JZcJE17Q5zs" target="_blank">the Cadets</a> at an even brisker pace. “She is My Dream” would have benefited from being played as a speedier clip. Still, it would be quite the cover song for a current roots-oriented outfit. “Wolf Call” is not the Elvis number from </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Girl Happy</span><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, but sounds more like a Leiber and Stoller vehicle for the Coasters and even locates itself in Los Angeles with the line: “Wella...Here I Stand on the Corner In Downtown L.A." The dusky “Me, My Shadow and I” features a menacing and looming guitar augmented with the prominent background accompaniments most likely influenced (once again) by the ones heard on the Flamingos’ “Only Have Eyes For You.”
</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAmfoYtwyDmpmfD9yEwcm8uXUOe1kAdjzjPCkERagHnGtevFXhDKVAARthf3lXihP3nN7IcgmZVmqb_XHS4kp4K6s6Z1-FVoq63R4VRJVzf3fMUaOBUr52WSyi5UzHE05wrZJjIq-waghwkF0vnr_VWwOV4TZfXpvgxOH5FHfQRQLLpq_Z1Nw/s1407/tads0002.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1407" data-original-width="1371" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAmfoYtwyDmpmfD9yEwcm8uXUOe1kAdjzjPCkERagHnGtevFXhDKVAARthf3lXihP3nN7IcgmZVmqb_XHS4kp4K6s6Z1-FVoq63R4VRJVzf3fMUaOBUr52WSyi5UzHE05wrZJjIq-waghwkF0vnr_VWwOV4TZfXpvgxOH5FHfQRQLLpq_Z1Nw/w390-h400/tads0002.JPG" width="390" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Tads with Lee Hazlewood<br />"The Pink Panther"/"Your Reason" sessions in 1956</td></tr></tbody></table><div style="text-align: center;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Both Mainstream & Marginal</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="font-size: 11pt; white-space: pre-wrap;">The collection offers some surprising departures like the rockin’ R&B heard on the previously unreleased “I’m Sorry Little Girl,” and even country inflected numbers like “It’s Been Nice” which was composed by Leroy Klingman (who was a teacher by day and owner-operator of Viv Records at night). The uplifting “Glowing Moon” sounds like another lost classic that taps into the eternal. Two takes of the uptempo proto-soul of “One of These Days” has the outfit sounding like the near future in 1962. With its interstellar harmonic blend, “Jumpin’ Over the Moon” </span></span><span style="font-family: Arial; font-size: 14.6667px; white-space: pre-wrap;">exuberantly</span><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"> achieves lift off in the midst of the space race. Lee Hazlewood was back in the picture as this blaster was launched by his short-lived Tandem Records label in 1961 and has the Tads sounding in fine fashion on this Fullylove composition. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="font-size: 11pt; white-space: pre-wrap;">
</span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b>For the Accelerated Ages</b>
The groundbreaking Tads were able ot put Phoenix on the map in the ever-evolving world of Doo Wop and R&B in the late ‘50s and early ‘60s. They helped set Phoenix-area music in motion and made headway for those who would come after them like Eddie & Ernie, Dyke and the Blazers and even <a href="http://wendy-city.blogspot.com/2010/05/meetthe-servicemen.html" target="_blank">the Servicemen</a>. After years of being prominently featured on compilations, </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Your Reason</span><span style="font-family: Arial; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="font-size: 11pt; white-space: pre-wrap;"> offers a closer look and more complete view of a group and their leader Leroy Fullylove. The vocal harmony/R&B group could be defined by the all-too-familiar missed opportunities, but most of all they should be heard and recognized for their striking, wide-ranging and timeless recordings forged as things were moving in so many directions.
</span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">
</span></p><div style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUsOvBDJpqvJYx-wG8jXA6txa7Nan9h2fAyVRibashyziTgQdvZ9M8TxfdiFrrSrWJ0z2Dro_ReheoUaBX6TbwBJNj059udBehUUwfOxL4DkVuLR2tKi86bLDGCw3vr5U_2YkYl33oy2_k3zaBz7dSYAZzyN8pYBLtsCeBfLxJdFScfI04Vd0/s3197/tads%202-001.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3197" data-original-width="2765" height="443" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUsOvBDJpqvJYx-wG8jXA6txa7Nan9h2fAyVRibashyziTgQdvZ9M8TxfdiFrrSrWJ0z2Dro_ReheoUaBX6TbwBJNj059udBehUUwfOxL4DkVuLR2tKi86bLDGCw3vr5U_2YkYl33oy2_k3zaBz7dSYAZzyN8pYBLtsCeBfLxJdFScfI04Vd0/w383-h443/tads%202-001.jpg" width="383" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Tads-1959</td></tr></tbody></table><br /><div></div></div><p></p><p></p><p></p></span></div>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-32070540682722514622023-04-07T16:22:00.005-07:002023-05-01T09:46:38.673-07:00My Summer Love. V/A My Summer Love: Japanese Girls Compilation<span id="docs-internal-guid-b5e2dda7-7fff-965c-2b36-26089f0633ac"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtJRTYVAogVugk3ohYj6zCwRZba6kXbhA4cSLAVh6mRq0c1qpbR29EoE1OJTtz2Dv6p0cqV45gW_0hsqp-TRZeWjOEFcR_bp_RCc1iKFyQOWT6usOdyuj7nw4ULWeIJ2r7k4gI-kyMmswUfMvwyZm6ow1h9C7mRiFl8kzCnz5Zcps_EfrXf6Y/s613/My%20Summer%20Love.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="613" height="391" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtJRTYVAogVugk3ohYj6zCwRZba6kXbhA4cSLAVh6mRq0c1qpbR29EoE1OJTtz2Dv6p0cqV45gW_0hsqp-TRZeWjOEFcR_bp_RCc1iKFyQOWT6usOdyuj7nw4ULWeIJ2r7k4gI-kyMmswUfMvwyZm6ow1h9C7mRiFl8kzCnz5Zcps_EfrXf6Y/w400-h391/My%20Summer%20Love.JPG" width="400" /></a></div><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><a href="https://wfmu.org/playlists/M5" target="_blank">Mike Rogers</a> reminded me of this compilation and my 2002 review when he played a track by Strawberry Mud Pie! on <a href="https://wfmu.org/playlists/shows/125937" target="_blank">his weekly WFMU show</a>. I also noticed that <a href="https://wendy-city.blogspot.com/2020/08/the-hot-shots-wise-up-watch-out.html" target="_blank">the Hot Shots'</a> contribution "I'm in Love" was co-written by Deke Dickerson and Yuichiro Matsushita and was later re-recorded as "I'm In Love With You" and appeared on the Hot Shots's 2009 album <i>Teen Street</i>.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">It’s always exciting to check out the Japanese music web pages to see what’s going on in a music world one day ahead of the Western world. Yet it’s ultimately frustrating because it’s either a big expensive ordeal to import the music or the language barrier results in a possible e-mail imbroglio. What does one do when they want to hear the full versions of songs by the Apricots (Mama Guitar side project) on this side of the Pacific? Well start with Bomp Mailorder who have made this Barn Homes/1+2 collection a readily available compilation at a domestic price. While there’s nothing as good as Sunnychar, Supersnazz or Mama Guitar, it’s a nice variety pack (largely influenced by the aforementioned groups) of oversea/underground Japanese female-fronted pop circa 2002. Great to play while dreaming of visiting the closet-sized Tokyo record shops some sunny day before heading to one of their early evening shows.
</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinIzp4IbH2p0aF3HMnDjlfLbr3-in_EA9NWDbqGidZuK95EFa3EkqPGul9-BZqzzd99d4tD34-F0RJlZcOgiM2aiOeRV11MVgkgk7gqfkNavXMpoGfegovMJ7ar5PUv5nSTsof_V8DmFMw9nw7fNkkBtXc6G2fiOAKYn98-8M3Z-XS3NHRlj4/s342/apricots.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="330" data-original-width="342" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinIzp4IbH2p0aF3HMnDjlfLbr3-in_EA9NWDbqGidZuK95EFa3EkqPGul9-BZqzzd99d4tD34-F0RJlZcOgiM2aiOeRV11MVgkgk7gqfkNavXMpoGfegovMJ7ar5PUv5nSTsof_V8DmFMw9nw7fNkkBtXc6G2fiOAKYn98-8M3Z-XS3NHRlj4/w400-h386/apricots.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Apricots</td></tr></tbody></table><br /></div></span>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-89905992811448152142023-04-07T16:21:00.012-07:002023-05-01T15:18:01.291-07:00Legend City: Ferocious Mid '60s Gems from the vaults of Phoenix's Viv-Debra Recording Studios 65-67<p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiQ5Dtm4STwWL_c05I_cj8YuRTn8HZsj1QlZ9igQNPPLnnRPicU4CcPj2mmJrzXukDzLFJHkS4WXDVlJcAe_HmmCBr2Jvy0Dc0-HfMwNhj649nLiYop7NJ5YkmOAoP5ETl8U4fJWgr9lmJ6qNY_qIiy7XXRxubgBXYE8OYG5SkGOtqgOuPvfo/s600/legend%20city.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="598" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiQ5Dtm4STwWL_c05I_cj8YuRTn8HZsj1QlZ9igQNPPLnnRPicU4CcPj2mmJrzXukDzLFJHkS4WXDVlJcAe_HmmCBr2Jvy0Dc0-HfMwNhj649nLiYop7NJ5YkmOAoP5ETl8U4fJWgr9lmJ6qNY_qIiy7XXRxubgBXYE8OYG5SkGOtqgOuPvfo/w399-h400/legend%20city.jpg" width="399" /></a></div><span style="font-family: arial; text-align: left;"><br /><span>The second volume of </span></span><span><i style="font-family: arial; text-align: left;">Legend City </i><span style="font-family: arial; text-align: left;">is slated for release sometime in 2023! Here are my 2001 impressions of the inaugural volume:</span></span><p style="text-align: justify;"><span style="font-family: arial;">Recently, I bought the long-awaited <i>Legend City: Ferocious Mid '60s Gems from the vaults of Phoenix's Viv-Debra Recording Studios 65-67</i> which was released (on vinyl and CD) by Dionysus/Bacchus Archives back in February. For me, it was a catch-up lesson in local history and sound. (Whenever I drive by <a href="http://wendy-city.blogspot.com/2020/04/5d-another-dimension-of-scottsdale.html" target="_blank">Tempe High School</a>, I will now think of <a href="https://emuseum.tempe.gov/objects/79480/hearsemen-1965?ctx=bdbbab21-5060-40a6-a044-c2606a563497&idx=4" target="_blank">the Hearsemen</a> (who are featured on the front cover) and who later "updated" their name to the Hobbit in '66.) Dan Nowicki contributed some deeply researched, informative, and well written liner notes to this collection. All of these recordings were produced in Viv-Debra studio which was the "budget" studio that was founded by Lee Hazlewood. (The other competing Phoenix studio at the time was Audio Recorders-where Phil & the Frantics recorded.)</span></p><p style="text-align: justify;"><span style="font-family: arial;">In particular, two songs from the Solid Ground really stand out to me on this disc. The Solid Ground hailed from the (now) "edge city" sprawl of Mesa. Their "Sad Now" starts off down a nicely shaded palm & citrus tree-lined folk-pop verse/la-la chorus street and then quickly crosses a stucco scorching yellow-to-red guitar freakout intersection. Then the song continues through a tinted cool shady side street neighborhood until burning some cheap Arco gasoline while punching across another wide intersection filled with the tire popping shards of a raved-up & out guitar. The contrasts in this song work like rain cleaning up the brown smoggy skies. With now completely clear skies de azul, the mountains have re-appeared on the wide horizon while the intro-jangle of their "She Played With Love" rings out. Their following song features a sound like '66 Chad & Jeremy singing for the '65 Byrds. This one is a real lush sunburst sparkler from the desert dry cactus lands of Arid-zona. </span></p><p style="text-align: justify;"><span style="font-family: arial;">Overall, a commendable regional compilation of originals from <a href="https://sunwave65.tumblr.com/" target="_blank">an area & era</a> that has never been covered before. I'm looking forward to possible future volumes of <i>Legend City</i> (and also a re-issue of the <i>Think of the Goodtimes:1960s Tucson Sound</i>). Believe me, you're not going to find these records in a Valley of the Sun Goodwill or St. Vincent dePaul.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgflq9i2us0Maufl18Rk_0f32G-KbJjxrpInYc5f6mG_r3wSEOy7acdTH-yZOZYOgYjswxgGa2oX0OUDlhaKgdgze3lRVMJb2GSEKG1Xzw8vFe1WexNLnTmbfHoqrq46gRtkkGtq7Qy06X6raRf2dQXJCjbub6sfJHkmQkcuEuSl1F-9YKqNvo/s551/Destiny%20Children.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="551" data-original-width="442" height="561" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgflq9i2us0Maufl18Rk_0f32G-KbJjxrpInYc5f6mG_r3wSEOy7acdTH-yZOZYOgYjswxgGa2oX0OUDlhaKgdgze3lRVMJb2GSEKG1Xzw8vFe1WexNLnTmbfHoqrq46gRtkkGtq7Qy06X6raRf2dQXJCjbub6sfJHkmQkcuEuSl1F-9YKqNvo/w450-h561/Destiny%20Children.jpg" width="450" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Destiny’s Children- Coronado High, Scottsdale, AZ-1966</td></tr></tbody></table>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-38894981890714834822023-02-20T08:04:00.019-08:002023-03-08T08:10:32.709-08:00Jenny O.-New Truth<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKbZt87S4oOXdL9BSgYHwoi2c6AfBWc7yWRUthRvd3tCZPYC4KT_QLW4G0iSS_kyTJcDVfgIujTumiubHKGlKeJ8ICEUMiCIUgQr3BBdCqvTuu-qAFYK8UXC_zDlMuSvDvcewKyxc5hxeaY6AYA147ef6y7QaJ_iEFMhd_5X4cK-1m_hGZrRM/s1200/jenny%20o..jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKbZt87S4oOXdL9BSgYHwoi2c6AfBWc7yWRUthRvd3tCZPYC4KT_QLW4G0iSS_kyTJcDVfgIujTumiubHKGlKeJ8ICEUMiCIUgQr3BBdCqvTuu-qAFYK8UXC_zDlMuSvDvcewKyxc5hxeaY6AYA147ef6y7QaJ_iEFMhd_5X4cK-1m_hGZrRM/w400-h400/jenny%20o..jpg" width="400" /></a></div><span id="docs-internal-guid-d76f1a14-7fff-276c-cf12-261fceabfce7"><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt;"></p><div style="text-align: justify;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">Jenny O. seems pretty well versed in her overall knowledge of pop. Not only has she covered “Can’t Seem to Make You Mine” by the Seeds, she even appeared on a 2005 tribute to Gennett Records with a cover of Hoagy Carmichael’s "Stardust." Jenny was also the only unsigned artist to appear on the <i>Rave On</i> Buddy Holly tribute with her rendition of “I’m Gonna Love You Too.” On the live front, she has toured with Rodriguez and the Proclaimers. Besides her own releases, she has furnished backing vocals for many acts that are not my thing at all (e.g., Father John Misty, Jonathan Wilson). The singer-songwriter surely seems all over the place and has already lived more than a few lifetimes, while outlasting several temporal scenes. In fact, she has already knocked around Nashville and Los Angeles and actually has an extensive background on the East Coast playing double bass and studying jazz. Currently, she seems to have fully absorbed the Pacific Coast Time ethos of Southern California. She comes across as a full-fledged Californian who has maybe read her fair share of Eve Babitz and Joan Didion. Wherever she may be, she has evolved as the circumstances and challenges change. </span></div><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><div style="text-align: justify;"><span style="font-family: Arial; font-size: 14.6667px; white-space: pre-wrap;"><br /></span></div></span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><div style="text-align: justify;"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">On her third full-length album she makes her mark by following some well established trails, while also blazing some of her own. </span><span style="background-color: white; color: #333333; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">The lavish echo enveloping “God Knows Why” delivers the song to the same zip code where Matthew Smith, Denise James and Slumber Party all reside. The lyrics unfold to evoke the yearning and questioning of Brian Wilson. </span><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Overall, the closest comparison to her sound might be Isobel Campbell and her 2020 release </span><span style="font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><a href="http://wendy-city.blogspot.com/2020/09/isobel-campbell-never-my-love-there-is.html" target="_blank">There Is No Other</a></span><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">.</span><span style="background-color: white; color: #333333; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> Meanwhile, </span><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">the verses of “Color Love” seem inspired by the Classic IV’s <a href="https://www.youtube.com/watch?v=18Sua_QTDs0" target="_blank">"Stormy"</a>-especially that indelible and swanky opening “You were the sunshine, baby. Whenever you smiled. But I call you stormy today." This oldies influence makes sense as she has previous experience singing in '60s cover bands.
</span></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4016535036/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1238182490/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://jennyo.bandcamp.com/album/new-truth">New Truth by Jenny O.</a></iframe></span><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt;"></p><div style="text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“What About that Day” holds up a mirror to her harmonies-allowing them to stretch off into infinity like a science center display. Some of the more idiosyncratic aspects of her previous approaches and efforts have been smoothed out, while also guarding against being overly proficient and losing some of the charm in the process. She has long played around the edges of overlapping genres (indie, Americana, singer-songwriter), but as side 1 </span><span style="background-color: white; color: #333333; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">plays on, it starts to slip into being a little </span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">too atmospheric, shimmering and languid for its own good.
</span><span style="background-color: white; color: #333333; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">
Things take a turn towards the better</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> as side 2 explores the more rustic routes with strummy guitars and harmonies coming to the fore. “Even If I Tried” is a glorious display of perfect mid-tempo pop and with its ringing guitars reminiscent of the Primitives and latter Lush. </span><span style="background-color: white; color: #333333; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Over the years she has played in a grab bag of styles, good enough to get sync licensing for series like</span><span style="background-color: white; color: #333333; font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> Riverdale </span><span style="background-color: white; color: #333333; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">and her music in car commercials</span><span style="background-color: white; color: #333333; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, but never quite finding her breakthrough song. This could be a candidate to be her signature song, even if the overall élan belies an underlying melancholy.
</span></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4016535036/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1278875270/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://jennyo.bandcamp.com/album/new-truth">New Truth by Jenny O.</a></iframe><div style="text-align: justify;"><span style="background-color: white; color: #333333; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></div><span style="background-color: white; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><div style="text-align: justify;"><span style="color: #333333; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: 11pt;">The album continues its stride with little sparkling gems like </span></span><span style="background-color: transparent; color: #333333; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“Small Talk” that recall <i>Someday</i>-era Susanna Hoffs. The Southwestern sundown sounds of “Hard to Say” contains some moments of oversaturated dissonance-reflecting being out-of-tune with oneself, but determined to overcome. Lastly, the uplifting “Seek Peace” ends the album on a truly peaceful note like how the Beach Boys’ </span><span style="background-color: transparent; color: #333333; font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Friends</span><span style="background-color: transparent; color: #333333; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> album begins (i.e., “Meant for You.”). Recently, I noticed many of my favorite acts like the Long Ryders and the Woggles, who no longer tour Arizona, have been playing in the ramshackle Mojave Desert enclave of Pioneertown, CA. at <a href="https://pappyandharriets.com/" target="_blank">Pappy + Harriet’s</a>. Jenny O. would be the perfect singer-songwriter to catch- if one just happens to be out there.
<br /></span></div><div style="text-align: justify;"><span style="background-color: transparent; color: #333333; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIFEm68_bjWAILJxeYsFoVNDB4_OEwuUCA0HLhQhhQessyJkt60NmxDGrf3BIj_zS6I3DLQCdpBQLz3_wnzqHFWoahFobrPCRP1c1SffNdIAaSrViPvwNIjLWPlXfTJdiJpBy_wNWMTxGcfw1VfbgfgNLI7E6hONcxU0wGW_0OzuiA9YySOew/s1280/JennyO4.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="850" data-original-width="1280" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIFEm68_bjWAILJxeYsFoVNDB4_OEwuUCA0HLhQhhQessyJkt60NmxDGrf3BIj_zS6I3DLQCdpBQLz3_wnzqHFWoahFobrPCRP1c1SffNdIAaSrViPvwNIjLWPlXfTJdiJpBy_wNWMTxGcfw1VfbgfgNLI7E6hONcxU0wGW_0OzuiA9YySOew/w467-h311/JennyO4.jpg" width="467" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">photo by Melissa Moore, CC BY 4.0, <br />https://commons.wikimedia.org/w/index.php?curid=31576931</td></tr></tbody></table></span></div></span><p></p></span>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-88501445184973646832022-12-27T06:25:00.026-08:002023-01-07T12:40:50.431-08:00Pen Friend Club-S/T<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd-SU-Vagp2O8sSOOpLokPDwl-aQHlWQzsw9Z49JU8nUENlvqQOqBhnIMRbQu_4ZRGamyKPWB9NTREMpsw0C_Xjwq9nxpKEB5EugizcYe-pf8eDhR8JADmgovNH_efY8Iz-o68GWfNkpo2ea_UBe6K4QzTFWfe8N78MOv6aSIQbeh_aDnpgLk/s302/Pen%20Friend.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="302" data-original-width="302" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd-SU-Vagp2O8sSOOpLokPDwl-aQHlWQzsw9Z49JU8nUENlvqQOqBhnIMRbQu_4ZRGamyKPWB9NTREMpsw0C_Xjwq9nxpKEB5EugizcYe-pf8eDhR8JADmgovNH_efY8Iz-o68GWfNkpo2ea_UBe6K4QzTFWfe8N78MOv6aSIQbeh_aDnpgLk/w400-h400/Pen%20Friend.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"></td></tr></tbody></table><span id="docs-internal-guid-fd4238d5-7fff-3772-ad4e-ce37970962eb"><div style="text-align: center;"><br /></div><div style="text-align: left;"><span id="docs-internal-guid-3c4e1555-7fff-ac26-bf20-7efb92195fce"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Roboto, sans-serif" style="background-color: white; color: #202124; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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</span><span face="Roboto, sans-serif" style="background-color: white; color: #202124; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> 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.</span><span face="Roboto, sans-serif" style="background-color: white; color: #202124; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Roboto, sans-serif" style="background-color: white; color: #202124; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Roboto, sans-serif" style="background-color: white; color: #202124; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Striking Just the Right Sound</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Roboto, sans-serif" style="background-color: white; color: #202124; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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. </span></p><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span style="background-color: white; color: #202124; font-size: 12pt; font-weight: 700; white-space: pre-wrap;">Expanding out into the Light & Dark</span></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Roboto, sans-serif" style="background-color: white; color: #202124; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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 <i>Led Zeppelin III</i>, <i>Second Coming</i> 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. </span></p><div style="text-align: justify;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqUm1h7o8Nt8zjFttG-8QxZnZf7-zGcw4JoP4Yh7x70qC1Z9oW2uLW3MtBcmx9Y1muSSBaQ9vBTfhBUbptczRASfmaNDp_wJYzc3kU6oLixG8iMRJM9jZVJm_OZhjdKYPtXcbszVKggao7lmuXtpmoHwhfRyqQ4KdGFciRX8CFouM1VcQFrFo/s2048/Pen%20Friend%20Club%20Group.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1150" data-original-width="2048" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqUm1h7o8Nt8zjFttG-8QxZnZf7-zGcw4JoP4Yh7x70qC1Z9oW2uLW3MtBcmx9Y1muSSBaQ9vBTfhBUbptczRASfmaNDp_wJYzc3kU6oLixG8iMRJM9jZVJm_OZhjdKYPtXcbszVKggao7lmuXtpmoHwhfRyqQ4KdGFciRX8CFouM1VcQFrFo/w540-h304/Pen%20Friend%20Club%20Group.jpg" width="540" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">L to R: Yuichi (guitar), Takayuki (drums), Yumi (glocken), Soi (keys), Megumi (lead vocals), Ricca (acoustic guitar), Asako (sax) Rie (bass)</td></tr></tbody></table><div style="text-align: justify;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Roboto, sans-serif" style="background-color: white; color: #202124; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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 <i>The Garden of the Pen Friend Club.</i> It makes one imagine their sound if Sean O'Hagan could produce or co-produce one of their future efforts.</span></p><div style="text-align: justify;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Roboto, sans-serif" style="background-color: white; color: #202124; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Harmonies on the Forefront</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Roboto, sans-serif" style="background-color: white; color: #202124; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“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 <i>Save for a Rainy Day</i> to the Four King Cousins. “At Least for Me Tonight” is also a shining example of bassist <a href="http://wendy-city.blogspot.com/2022/09/interview-with-rie-nishioka-of-pen.html" target="_blank">Rie Nishioka</a>’s remarkable composition skills along with being the catchiest song on the album.
</span></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/hZ6ZzwCjbz4" title="YouTube video player" width="560"></iframe><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><br /></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Roboto, sans-serif" style="background-color: white; color: #202124; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“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<i> The Mary Tyler Moore Show</i>) 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 <a href="https://the-pen-friend-club.wixsite.com/the-penfriendclub/%E8%A4%87%E8%A3%BD-tommy-liner-notes-all" target="_blank">liner notes</a> that guide listeners through the dimensions of their sound, along with mentioning the myriad of musical influences on this recording.</span></p><div style="text-align: justify;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Roboto, sans-serif" style="background-color: white; color: #202124; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Westbound</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Roboto, sans-serif" style="background-color: white; color: #202124; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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.
</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcCzl09T783Dyx7VVIh-VJDypZCSFvCDZEU-2PoMcTr1iv4yZL14YoW1Kx-nvMrwtOt2j4EugMGT_8tBRHokb9cwrq26GSJ0AO4BaX3ZCJGiv7DVaAPzbjyc5ztWYIlcaMSO3zfrdXF60Q5bEh3h8rv73sx7kRs8Hg7iTcmgQOY6GjO_wa7fs/s1512/pen%20friend%20club-hmv.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1512" data-original-width="1512" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcCzl09T783Dyx7VVIh-VJDypZCSFvCDZEU-2PoMcTr1iv4yZL14YoW1Kx-nvMrwtOt2j4EugMGT_8tBRHokb9cwrq26GSJ0AO4BaX3ZCJGiv7DVaAPzbjyc5ztWYIlcaMSO3zfrdXF60Q5bEh3h8rv73sx7kRs8Hg7iTcmgQOY6GjO_wa7fs/w400-h400/pen%20friend%20club-hmv.jpg" width="400" /></a></div><div style="text-align: center;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Roboto, sans-serif" style="background-color: white; color: #202124; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Crowning Achievement</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Roboto, sans-serif" style="background-color: white; color: #202124; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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. </span></p><div style="text-align: justify;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Roboto, sans-serif" style="background-color: white; color: #202124; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Fortitude and Flexibility</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Roboto, sans-serif" style="background-color: white; color: #202124; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="font-size: 12pt; white-space: pre-wrap;">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</span></span><span style="background-color: white; color: #202124; font-size: 12pt; white-space: pre-wrap;"> will continue to </span><span style="background-color: white; color: #202124; font-size: 12pt; white-space: pre-wrap;">persevere and prevail.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span face="Roboto, sans-serif" style="background-color: white; color: #202124; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="font-size: 12pt; white-space: pre-wrap;">
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</span></p><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><span face="Roboto, sans-serif" style="background-color: white; color: #202124; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmI8ORUQvA2LOzXe428ULwQ6aF2cWg0F-Sh3Q-K7q7MFvI4bVi5a9qHN6q6oRdd2x0KPkgkcVfPvJ40ZgW8HF1gUBrmNrm7Nmu6EJPBYesp-1RBH4TcrohhXaZANSFX8RmPOV-AKTCNc0QBBSz9igrQ4ZukYJuz6Tht3xwBkxoJJX_pJGADh8/s1500/pen%20friend%20club.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1200" height="523" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmI8ORUQvA2LOzXe428ULwQ6aF2cWg0F-Sh3Q-K7q7MFvI4bVi5a9qHN6q6oRdd2x0KPkgkcVfPvJ40ZgW8HF1gUBrmNrm7Nmu6EJPBYesp-1RBH4TcrohhXaZANSFX8RmPOV-AKTCNc0QBBSz9igrQ4ZukYJuz6Tht3xwBkxoJJX_pJGADh8/w418-h523/pen%20friend%20club.jpg" width="418" /></a></span></div></div><p></p></span></div></span>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-30682239411888287282022-12-27T05:45:00.007-08:002022-12-27T06:32:48.264-08:00Best of 2022: Top 10 & Archival<div class="separator" style="clear: both; text-align: center;"><a href=" https://the-pen-friend-club.wixsite.com/the-penfriendclub/the-pen-friend-club-album-cd" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="302" data-original-width="302" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivUJ0gYkhPA-HzbTz42emS3vBJ_RWjHvp1muD1qzuW6dQQpFJygclw3hGegLltsCxEfBSPV8Iuh1HyGJNtPUZcOVAoNSnAtwS_5iX-XrU5_DztcRWCZIALyIAI3fH-MySkNc8WXgcYfe4gD0WCrTsNMrEPozIjBNGfeenkfSAKs01AVt34shM/w320-h320/Pen%20Friend.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">1. <a href=" http://wendy-city.blogspot.com/2022/12/pen-friend-club-st.html" target="_blank">The Pen Friend Club-S/T</a><br /><a href=" https://yea-ming.bandcamp.com/album/so-bird" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqeUPPr1CUMAnOhQoHdwwI8XUnTtSLr0Y5YVEtA2gdslLeRZa-zV_peUs3UWzp-cIlz9bJtLOzyP8SxvTjSz_xOP3tbE-ZQeOMjZ7qa2D2nsL2zum5MEjm52jGjyI7h1DlKm1VNn19lnPjqp92E4Y12JZ43Kh-n97BlQcut8yeHZVRTR2HS0U/s320/yea-ming.jpg" width="320" /></a><br />2. <a href="http://wendy-city.blogspot.com/2022/04/yea-ming-and-rumours-so-bird.html" target="_blank">Yea-Ming And The Rumours – So, Bird...</a></div><div class="separator" style="clear: both; text-align: center;"><a href=" https://thefreezinghands.bandcamp.com/album/it-was-a-good-run" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1200" data-original-width="1176" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX-nwuo9-FKAT2QcNJ_O1MNzZDjj6eX4MecF-qnHE1YZ7nw9GhclO671hOUc8BJ0HCsRLl0GNmt6yI6rP1-zJU6fYQhuhXp_b1OnBZID8JSAeSi-1QtnWjSxeRyGTCYyni_qGQRVxn4BMVHFkL210wNxZnxIJv1j2pKENTf-PRvvI2AJ1IhCk/s320/Freezing%20Hands.jpg" width="314" /></a><br />3.<a href="http://wendy-city.blogspot.com/2022/03/freezing-hands-it-was-good-run.html" target="_blank">Freezing Hands – It Was A Good Run</a></div><div class="separator" style="clear: both; text-align: center;"><a href=" https://omnivorerecordings.com/shop/in-cinerama/" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_TUEqwfuuBwjyHg6KlMpylvqd1XuXRnoO4wfI5Y57boPPmcmzmNqpGtNLz9pqQtjsXWVsK08QQv9VpURQtC9LmCjxMw6QqMKBf11PmXlQH8DL2irATT9_5GPyM978immdhDePROKDzcrZUxi_-jQnQ-8bnF9rooVuBkpTVYqZ2X1SIlP-IHo/s320/March-In-Cinerama-OV-478.jpg" width="320" /></a><br />4. <a href="https://omnivorerecordings.com/shop/in-cinerama/" target="_blank">April March-In Cinerama</a><br /></div><div class="separator" style="clear: both; text-align: center;"><a href=" https://hazysourcherry.bandcamp.com/album/strange-world" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjTKK8z1_0Y6vxrACTPhHjJiy9DXIDsifU93Z_hdcFt4yN-cw65s5DbyVHyTqwNWvvMW2wr6fwo36_KztiDn26Zz547tmLq1uHkpJ7M6EVllXu1-iHCqNb6xCbZ01HsYftqBSZ1I4B8Oc8wYBVMoLHBQRcNW5jl002O-ozVKF2xAVCv7UqC5A/s320/Hazy%20Sour%20Cherry.jpg" width="320" /></a></div><div style="text-align: center;">5. <a href="https://hazysourcherry.bandcamp.com/album/strange-world" target="_blank">Hazy Sour Cherry-Strange World</a></div><div class="separator" style="clear: both; text-align: center;"><a href=" http://wendy-city.blogspot.com/2022/11/various-if-you-gotta-go-go-go-go-now.html" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1497" data-original-width="1500" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqvRvTn4zAzrpPIvK7keI5Z7T5kyz-_yj-JybIcpglXDEiHQguX3TA3nOUBoyFObm6xPtkv53E3xA0L_TG7rkjgl2w7qCdd4Su8NlHhvk87ieBsNWQ2LDSw1koX7Ur0k4T3jVrBXG4Wl7QsIEbTSQVx8_O5w_4Kw41bAoL1xAsytFrW_iOksw/s320/go%20go's.jpg" width="320" /></a><br />6. <a href="http://wendy-city.blogspot.com/2022/11/various-if-you-gotta-go-go-go-go-now.html" target="_blank">Various-If You Gotta Go-Go, Go-Go Now :<br /> A Tribute To The Go-Go's</a></div><div class="separator" style="clear: both; text-align: center;"><a href=" http://wendy-city.blogspot.com/2022/07/volebeats-lonesome-galaxy.html" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="640" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizARaijN90AkU08t0QZlmgmfq-jvGgNesby83EsvYNCRN_ijs_LHrG9KQeB9t5psZekITqXYRDRGp0QjMckQui8N7xDKusIaOWPomVNqzXqXhAuOC2BIqoejyekKaIDEU84hl09G3-EppcyuWGXfskL49qchXuw8pqf6KdUqwdywMWWYrTNXY/s320/volebeats.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">8. <a href="http://wendy-city.blogspot.com/2022/07/volebeats-lonesome-galaxy.html" target="_blank">The Volebeats-Lonesome Galaxy</a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZf2oyY9WydmED83Va_FUCTAtr6yNAjjCLwwI9NMwtMdJpKK1C7bOfJF0qr5YNDfeK85M-eu8a4Sh31o4BE6zobNQsBEVBaqwAhI_qg_WM77gbyo1sAKoxtq3wwGID3vDwo-m_hhdhUmqOYS3_YsmAqETDnzYRMzAJsUoHE4zoMeBSWVfo5C8/s2000/stephen%20mccarthy.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="2000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZf2oyY9WydmED83Va_FUCTAtr6yNAjjCLwwI9NMwtMdJpKK1C7bOfJF0qr5YNDfeK85M-eu8a4Sh31o4BE6zobNQsBEVBaqwAhI_qg_WM77gbyo1sAKoxtq3wwGID3vDwo-m_hhdhUmqOYS3_YsmAqETDnzYRMzAJsUoHE4zoMeBSWVfo5C8/s320/stephen%20mccarthy.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">8. Stephen McCarthy & Carla Olson <br />– Night Comes Falling<br /><a href=" https://curation-records.bandcamp.com/album/do-it-all-next-week" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh57EokR8BLGVHULLQfgZhjjIBc0oFiobp0JXnH20KG_4k2TWO2urcq8Zh0zVVfOr84_WpK2f3LE5-1XEXzgeUortjMdiiAE0PB-hXGXBuxy1rv79-6ulTPdYB5VRdLcDhU9Ky283KsJcyTb9NMQUcDVikFjsvkRmp13BCcdnU9jmLHMYxDS9o/s320/uni%20boys.jpg" width="320" /></a></div><div style="text-align: center;">9. <a href="https://curation-records.bandcamp.com/album/do-it-all-next-week" target="_blank">Uni Boys-Do It All Next Week</a></div><div class="separator" style="clear: both; text-align: center;"><a href=" https://fuzziyamanagoyajapan.bandcamp.com/album/wild-echizen" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPNEYiBVLWr-n9odMnwmKHd5htC_Fi4F4Tlov3AaVZhvfSifnRQt1uQzG9x38WNJAMWoHUN3w5vzUn6u4v4OnzBespgTmKEOYiwxfFQgMq0hGwmXqdjARlIcWeGlnNOqEMbph8psqQkmJ22d5VWdiA8gvdlhzF8yEGe0SFhcEyzRvK1_exKlI/s320/fuzziyama%20surfers.jpg" width="320" /></a></div><div style="text-align: center;">10. <a href="https://fuzziyamanagoyajapan.bandcamp.com/album/wild-echizen" target="_blank">The Fuzziyama Surfers – Wild Echizen</a><br /><br /><b><u>Archival<br /></u><br /></b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid3dLw958T0RAvreI9S8RpvDfNpxhisAyaaCuihRhLd-5hJYWDKHROGCZHCX_vNYPyi8Ud-gmPtrJJXEzO2cFLyA3I2_HFH6Yz4FHbdlghgtZU3n1rJecKl8kqkPwWbC-YZx-_wUp3iJIGWjHeqt63SAYR3NLHrm3nOwOguIuGBrUDxLt70U8/s600/Lou%20Reed.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid3dLw958T0RAvreI9S8RpvDfNpxhisAyaaCuihRhLd-5hJYWDKHROGCZHCX_vNYPyi8Ud-gmPtrJJXEzO2cFLyA3I2_HFH6Yz4FHbdlghgtZU3n1rJecKl8kqkPwWbC-YZx-_wUp3iJIGWjHeqt63SAYR3NLHrm3nOwOguIuGBrUDxLt70U8/s320/Lou%20Reed.jpg" width="320" /></a></div>1. Lou Reed – I'm So Free: The 1971 RCA Demos</div><div class="separator" style="clear: both; text-align: center;"><a href=" https://sundazedmusic.bandcamp.com/album/elusive-the-tom-dawes-jingle-workshop" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPbqw1XqHYVkX3j2re3ZmFz6Z8W2H1TXims3_KZtMv6V9hs8qxk_Ruohx3EsEUyHOoLrno5DViu6rVQ6Mb72sigrHWrwccpmkLfuCMCgVdhc8xyW0cArB2itW7x1_JCa1FgVauluXXK4Dxp4ccXtV_YFGUfF-x2HLck6C8Zs2IZKxWkHdjHDY/s320/Tom%20Dawes.jpg" width="320" /></a></div><div style="text-align: center;"><div>2. <a href="https://sundazedmusic.bandcamp.com/album/elusive-the-tom-dawes-jingle-workshop" target="_blank">Tom Dawes (of Cyrkle) –<br /> Elusive: The Tom Dawes Jingle Workshop</a></div></div>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-31650672061884316682022-11-05T08:56:00.033-07:002022-11-12T07:37:59.507-08:00Various – If You Gotta Go-Go, Go-Go Now : A Tribute To The Go-Go's<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWcV9xbu25HjPZ28fBnk2oqdgxzCaPQxxXU8BaShzFZumBmiI_wZ5-mQQqc3eiKIjuxxaNbWEKzc2Gj6OrvzdT6RZUrFnFVuKKs-iYhtwqj3kMCDbCIhU58CeFQJ9xoLKdVQo13D1ISiRFvkcVw-jVLrsyZOJ7_G0YWC6dHiSBOcd2608GC9k/s1500/cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1497" data-original-width="1500" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWcV9xbu25HjPZ28fBnk2oqdgxzCaPQxxXU8BaShzFZumBmiI_wZ5-mQQqc3eiKIjuxxaNbWEKzc2Gj6OrvzdT6RZUrFnFVuKKs-iYhtwqj3kMCDbCIhU58CeFQJ9xoLKdVQo13D1ISiRFvkcVw-jVLrsyZOJ7_G0YWC6dHiSBOcd2608GC9k/w400-h399/cover.jpg" width="400" /></a></div><span id="docs-internal-guid-5009d6df-7fff-b1ef-ddb1-b6b26ca3631c"><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">This seemingly came out of nowhere as it appears to be SFTRI’s first new release in nearly a decade. It has also been 20-some-odd years since their </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">How Many Bands Does It Take to Screw up a Blondie Tribute? </span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">This is somewhat of a companion disc to the Blondie tribute as it shares the same compiler (Travis Ramin) and cover artist (Aaron Marshall), along with some of the same musical participants. </span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In typical SFTRI swashbuckling fashion, the disc has been somewhat of an elusive treasure as the silver ring has seemingly been stuck on a container ship outside the Port of Long Beach, resulting in backstock status throughout 2022. </span></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: left;"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgshdHU7_UblUmmso_-HxmCjOd8qDauhFudqe0BbZdfZAGF5jIGFlAfgBe38gZg5KX_VXJwsnzf8lw7-wQ_Zmc7eqk0xeujlF0E8d_5SdLoNLkmoMXZk4f5ewQOZbH3aAn0K913Ga3hmp7pOcwVTO73_vWbAOcwrfojsrxaI9uCBMM4XnGA6Pg/s640/blondie%20cover.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgshdHU7_UblUmmso_-HxmCjOd8qDauhFudqe0BbZdfZAGF5jIGFlAfgBe38gZg5KX_VXJwsnzf8lw7-wQ_Zmc7eqk0xeujlF0E8d_5SdLoNLkmoMXZk4f5ewQOZbH3aAn0K913Ga3hmp7pOcwVTO73_vWbAOcwrfojsrxaI9uCBMM4XnGA6Pg/s320/blondie%20cover.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">How Many Bands Does It Take To Screw Up A Blondie Tribute? </td></tr></tbody></table><p style="text-align: left;"></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Like the aforementioned Blondie tribute album, the source material is so strong, it’s almost a foregone conclusion that this tribute album will be a successful one. Scanning the groups involved, reveals a beguiling mix of the Go-Go’s competitors and contemporaries from the late ‘70s & early ‘80s (Paul Collins, Nikki Corvette and Josie Cotton), some of the most compelling musicians associated with the best of the ‘90s (Fastbacks, Lisa Marr), famous in Japan acts from the last 20 years or so (Baby Shakes) and Japanese groups famous outside of Japan (the 5.6.7.8's).</span></p><span style="font-family: Arial;"><p style="text-align: justify;"><span style="font-size: 14.6667px; white-space: pre-wrap;">SFTRI has a strong track record of bringing much needed attention to obscure, yet outstanding female-fronted and all-female bands with their many releases, tributes and compilations. Hearing how each act incorporates their own individual style within the vicinity of the distinctive sound and brash & bouncy energy of the Go-Go’s is the pull of this disc. There are some instant winners with the artists one already appreciates and then there are some unexpected pleasant surprises with a few previously unknown groups who share similar guitar-driven sensibilities. The only glaring omission was not seeing the inclusion of Peach Kelli Pop, who are one of the most Go-Go’s influenced bands going today. There are always many reasons behind these things. Perhaps they are waiting for a tribute to Redd Kross?
</span><span style="font-size: 14.6667px; white-space: pre-wrap;"><b>Essential link between Blondie and the Bangles</b></span><span style="font-size: 14.6667px; white-space: pre-wrap;">
Over the decades, the Go-Go’s have become regarded as one of the key groups of the new wave movement and in a way a commendable cross-over act that connected the underground to the mainstream that one can still hear at wedding receptions and swimming pools or in short the essential link between Blondie and the Bangles. During the first five years of the '80s, they brought the changing sound of the San Fernando Valley, Hollywood and Los Angeles to the world. Along with the Plugz, the Plimsouls and Phil Seymour they played the Starwood and the Whiskey a Go Go. As things began to accelerate, they were off to the American heartland to open for the Pretenders before jetsetting with I.R.S./A&M labelmates the Police. With the hits, the foremost Southern California New Wave band became headliners and played everywhere from Palos Verdes High School to stages in Australia, Brazil, the UK, Japan and achieved international stardom in the process. (All this makes one wonder if they were ever considered to be included in the famous CHiPs’ “Battle of the Bands” episode as Charlotte Caffey’s father Thomas Caffey directed episodes of ChiPs?)</span></p></span><p style="text-align: left;"></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Their backgrounds were as distinctive and varied as the state of California itself. They ranged from the outsized appeal of Thousand Oaks’ favorite day-glo diva Belinda Carlisle to the Texan transplant Kathy Valentine, who brought an outsider perspective and hard-won wisdom from the Austin school of hard knocks. Gina was the girl from Baltimore who more than kept the beat, while Jane Wiedlin brought her Hollywood fashion school background to the foreground with a fair share of pixie dust. Further, Charlotte Caffey was seemingly a Golden State golden child from Glendale who radiated reserved cool and could do it all.</span></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/edLwyhDa1k0" title="YouTube video player" width="560"></iframe>
<b>Worlds Away</b>
The Go-Go’s stirrings led to a ripple effect that eventually crested into momentous waves that continue to build, lift and launch these 24 acts from sea to shore. Fastbacks surge ahead with their version of “Vacation” and make it unmistakably their own with Kurt Bloch’s nose-dive metal flake fills leading up to the indelible and exultant chorus. Some may recall that cub covered “Vacation” on 1995’s</span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> Come Out, Come Out.</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> Writing of cub, Lisa Marr’s astonishing rendition of “Worlds Away” is simultaneously the most monumental and spare song on this compilation. She found such a gem to interpret and completely transformed it with her austere treatment. I consider it my favorite single song of 2022 as it takes on a life of its own, while expressing the seemingly overwhelming concerns of the day-to-day with the underlying and universal yearning to be worlds away. In addition, Marr makes the ukulele sound avant again as her playing style verges on the exotic-making it sound more like a koto or zheng.
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</span></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“Tonite” is a Mike Skill (The Romantics) and Nikki Corvette collaboration featuring the coiling, yet compressed and gleaming guitar tone. These vets come closest to approximating the economical playing and the incisive sounds insisted by producer Richard Gottehrer on the </span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><i>Beauty and the Beat</i></span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">sessions. </span></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: left;"></p><p style="text-align: justify;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">The splashy “Surfing and Spying” written by Charlotte Caffey is put into the capable hands of the 5.6.7.8’s. The Japanese trio blast out their surf punk guitar and make waves worthy of Charlotte Caffey, who joined the Go-Go’s after a stint with the Eyes. Songs like “Disneyland” </span><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">indicated the Eyes’ own astute and askew take on the Southern California surfy punk sound.</span></p><p style="text-align: left;"></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><b>This Town</b>
Baby Shakes reacquaint listeners with “This Town,” which has emerged as one the Go-Go’s finest songs. Besides marking a high point in their songwriting, “This Town” is also an example of the Go-Go’s undeniable ability to glean the decades like a thrifter with a trained eye. They were obviously and unabashedly spurred by the best early to mid-sixties pop rock, while also proudly wearing their prominent ‘70s power pop & punk influences on their tattered sleeves. Overall, they were not only in tune with their times, they helped shaped its direction by their awareness of the past and forward momentum. </span></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: Arial;"><span style="font-size: 14.6667px; white-space: pre-wrap;">I used to see the name of the Nutley Brass bandied about in ‘90s zines like <i>Go Metric</i> and I dismissed them as a novelty act without ever actually hearing them. They bring something new to the table with their recasting of “Head Over Heels,” which was the Go-Go’s final top 10 hit from spring of 1984. Nutley Brass’ something new is a touch of <a href="https://en.wikipedia.org/wiki/KPM_Music" target="_blank">KPM Music</a> with a Sting of the Mike Flowers Pops Orchestra. The Nutley Brass is a project of the talented Sam Elwitt who would go on to produce two excellent albums for Miriam Linna.
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/9k-r57GrWoI" title="YouTube video player" width="560"></iframe>
</span></span></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Presented with punch and supreme poppiness, “Can’t Stop the World” was the worthy flip of “We Got the Beat” on the IRS single. Kathy Valentine's declaration of determination lends itself well to reinterpretation by Go-Go’s contemporaries Holly & the Italians as well as being the fitting closing song and statement (like on the <i>Beauty and the Beat</i> album).</span></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><b><i>Fast Times at Ridgemount High</i> soundtrack stars</b>
The Go-Go’s were an effervescent, upbeat, catchy and pivotal group who partly defined the early ‘80s. Success arrived for them because of their ability to absorb and encompass the overlapping musical and visual influences of several Southern California’s extant sub-cultures into an appealing, distinctive and unified identity of their own. Music videos helped them further render their spunky look to an inflection point, while VHS footage (</span><span style="font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Totally Go-Go’s</span><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">) showcased their live excellence. In short, they were able to put the symmetrical in the asymmetrical and the power in the pop. </span></span></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">They had an intrinsic melodic sense that continues to give their songs perennial appeal. The quintet was also an eminently likable band, but unfortunately as an all-female band in the male-dominated music industry they were essentially regulated to second string status by the entrenched establishment. The Go-Go's eventually made their own way through years of self-imposed struggles, intragroup strife and industry resistance. Ultimately, their collective resolve took them all the way to the Rock & Roll Hall of Fame. More importantly, they have survived to succeed and influence successive generations through recent books, documentaries and their enduring songs.</span><span style="background-color: white; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> Their jolting and joyous energy is still breaking through. </span></span></p></span>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-38743759632340811202022-10-20T06:36:00.008-07:002023-02-04T15:35:13.857-08:00 The Ramsey Lewis Trio-Upendo Ni Pamoja <p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"></p><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqFMJZnrXX8LpMmGBLkyoyldy3LFdgLvdLLu3NpIVUEkyFNiC7sy0NLNFLUA6KqIcFyFUztV5oXc6bmFkDUuxYB05A3BAFlZi93Dlt3nx7dzem2E66Iq4DbzK4nWu19mzcqfJbe-StofYz9JNZUDd7H3UhIO5dlxpKDmy1bQkT5m61z7U0IKI/s748/upendo-ni-pamoja.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="722" data-original-width="748" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqFMJZnrXX8LpMmGBLkyoyldy3LFdgLvdLLu3NpIVUEkyFNiC7sy0NLNFLUA6KqIcFyFUztV5oXc6bmFkDUuxYB05A3BAFlZi93Dlt3nx7dzem2E66Iq4DbzK4nWu19mzcqfJbe-StofYz9JNZUDd7H3UhIO5dlxpKDmy1bQkT5m61z7U0IKI/w400-h386/upendo-ni-pamoja.jpg" width="400" /></a></div></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="color: #0f1111; font-family: Arial;"><span style="background-color: white; font-size: 14px; white-space: pre-wrap;">After years of recording for Chess Records and its Argo and Cadet subsidiaries, <i>Upendo Ni Pamoja</i> was the trio’s debut for Columbia Records. They prepared a well-rounded selection of songs that lavished in lushness, scaled gospel heights and barreled through rhythm & blues (with frequent visits to all of these styles, moods and moments within the expanse of a song). These ranges of emotions seemingly emanated from Ramsey’s playful sense of adventure, inherent jazz soul and spirit of generosity.</span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="background-color: white; color: #0f1111; font-family: Arial; font-size: 14px; white-space: pre-wrap;">As a mainstay for decades, I have to admit that I took Lewis for granted until he was no longer here (as of September 12, 2022). Revisiting old favorites and seeking out the previously unfamiliar have given me a proper appreciation of his vast body of work. While already well known by crate diggers and heavily sampled since the ‘90s, recent glowing recommendations of <i>Upendo Ni Pamoja</i> spurred me in its direction.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="background-color: white; color: #0f1111; font-family: Arial; font-size: 14px; white-space: pre-wrap;">A reviewer on Amazon aptly referred to the album as dashiki jazz, while another listener on Youtube fittingly described the album as “funky soulful spiritualism.” Both encapsulate this transitional album of crossover soul jazz co-produced by Ramsey Lewis and Teo Macero with sound captured and converged by Fred Plaut, who was one of Columbia Records' finest engineers. The title of this album, rendered in Swahili, translates to “Love is Together,” was perhaps lifted from Afro Sheen’s advertising that appeared in 1971 editions of <i>Ebony</i>.
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/qutwEMplQ98" title="YouTube video player" width="560"></iframe>
</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="background-color: white; color: #0f1111; font-family: Arial; font-size: 14px; white-space: pre-wrap;">Their opening statement is a free flowing cover of War’s “Slipping into Darkness” with jabs of upright bass provided by Cleveland Eaton and the spot-on drumming of Morris Jennings-giving Lewis the sound and space to take off with the simmering melody. The album quickly hits a peak point with an evocative cover of <a href=" " target=""> </a>"People Make the World Go Round," which was the big 1971 hit for the Stylistics. Further, the Trio’s rendition sounds like it may have influenced Milt Jackson’s version, which emerged on his commendable <i><a href="https://en.wikipedia.org/wiki/Sunflower_(Milt_Jackson_album)" target="_blank">Sunflower</a></i> album from 1973.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9a1NqcdGlJPROxWFFKuXr5B98eCefgckbnd6AdEJWTB3Qi5O1rJKJ0l8imDXhJM4EKAs8gCEGkeE_Ho30uuHo5EU52x3m6q4ftN3W15dNiCUMfrE4l-_nkLARf-eNQaJyLKwZcA4XOQGcGM7ogV46pUbcOKFXuxNiQNT1Q8qd69sy-OEyQ64/s600/Latin.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9a1NqcdGlJPROxWFFKuXr5B98eCefgckbnd6AdEJWTB3Qi5O1rJKJ0l8imDXhJM4EKAs8gCEGkeE_Ho30uuHo5EU52x3m6q4ftN3W15dNiCUMfrE4l-_nkLARf-eNQaJyLKwZcA4XOQGcGM7ogV46pUbcOKFXuxNiQNT1Q8qd69sy-OEyQ64/w400-h400/Latin.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Goin' Latin</i> from 1967 with arrangements by <a href="http://wendy-city.blogspot.com/2018/02/the-soulful-strings-paint-it-black.html" target="_blank">Richard Evans</a></td></tr></tbody></table><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="background-color: transparent; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="font-family: Arial;"><span style="font-size: 14.6667px; white-space: pre-wrap;">The adventurous title track, "Upendo Ni Pamoja,” also released as an edited 45, has it all as it features the prominent bright melodies of Ramsey’s mid-sixties pop & soul jazz period along with the still futuristic sounding sonic textures that would soon be abundant on </span><i style="font-size: 14.6667px; white-space: pre-wrap;">Sun Goddess</i><span style="font-size: 14.6667px; white-space: pre-wrap;">. (Ever since finding </span><i style="font-size: 14.6667px; white-space: pre-wrap;">Sun Goddess</i><span style="font-size: 14.6667px; white-space: pre-wrap;"> in a Goodwill sometime in the ‘90s, it has been my go-to Lewis album from the ‘70s, while </span><i style="font-size: 14.6667px; white-space: pre-wrap;">Goin’ Latin</i><span style="font-size: 14.6667px; white-space: pre-wrap;"> is my choice from the ‘60s.) The closing number “Collage” still hovers “out there” and is another foreshadowing of the elastic shape of sounds to come with Ramsey’s use of Fender Rhodes Electric Piano and his embracement of the newest technology </span></span></span><span style="font-family: Arial; font-size: 14.6667px; white-space: pre-wrap;">(ARP Ensemble & ARP Synthesizer)</span><span style="font-family: Arial; font-size: 14.6667px; white-space: pre-wrap;"> that would be fully employed and topped off by ethereal vocals on </span><i style="font-family: Arial; font-size: 14.6667px; white-space: pre-wrap;">Sun Goddess</i><span style="font-family: Arial; font-size: 14.6667px; white-space: pre-wrap;">. It should also be noted that the unsung violinist & percussionist </span><a href="https://www.discogs.com/artist/339503-Ed-Green-2" style="font-family: Arial; font-size: 14.6667px; white-space: pre-wrap;" target="_blank">Ed Green</a><span style="font-family: Arial; font-size: 14.6667px; white-space: pre-wrap;"> wrote some of the strongest material on this album. His credits include both “Collage”and the aforementioned “Upendo Ni Pamoja.” </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="background-color: transparent; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="font-family: Arial;">
</span></span></p><div style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzRdlUOoVtt7NlfOuKvCfYwqRqm8pxwp6kcwLU0YJ2TKj9OeIHrzwaUuqdEsBNiQnGKBnkV9cHlR8vnNlHJKt0N0Yd8ZmPItiZsTtem0VDBQpNy9lW-pit8ydWU-V4IwOoZ5ZYwB9CvLm5h3OjkMakJqO6RL1kA_-O3-siyWah6_c346JZx7Q/s1280/sungoddess.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1265" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzRdlUOoVtt7NlfOuKvCfYwqRqm8pxwp6kcwLU0YJ2TKj9OeIHrzwaUuqdEsBNiQnGKBnkV9cHlR8vnNlHJKt0N0Yd8ZmPItiZsTtem0VDBQpNy9lW-pit8ydWU-V4IwOoZ5ZYwB9CvLm5h3OjkMakJqO6RL1kA_-O3-siyWah6_c346JZx7Q/w395-h400/sungoddess.jpg" width="395" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Sun Goddess</i>-1973</td></tr></tbody></table></div><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="color: #0f1111; font-family: Arial;"><span style="background-color: white; font-size: 14px; white-space: pre-wrap;">Lewis was courageous and countervailing on one level for casting a wide net and taking on the pop and soul hits of the time despite being maligned by the cognoscenti. His efforts were rewarded as his appealing and exuberant jazz pop records scaled the ultra-competitive Top 40 charts of the mid-sixties. Lewis should also be recognized for his overall versatility, which was made possible by his equanimity, expansive vision and all-encompassing approach towards music. </span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhspoAu0akuhOgbewpbQKQghYtt70fWEIwVg1E-SxVDaQpu4E11vR9aUobwXWdKyczf_PGIi6HrHLooON92ZEOU0pJg7Y8VCySKF0vXQqLNzxIoLTiNlgCbGqTWbsph7cIZjzMDCYjN7C2KAem9s8GEV2UzTuE6LZ9LwMqIXoHrWHZgZdCT-_E/s474/Cleveland%20Eaton,%20Lewis,%20Morris%20Jennings.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="468" data-original-width="474" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhspoAu0akuhOgbewpbQKQghYtt70fWEIwVg1E-SxVDaQpu4E11vR9aUobwXWdKyczf_PGIi6HrHLooON92ZEOU0pJg7Y8VCySKF0vXQqLNzxIoLTiNlgCbGqTWbsph7cIZjzMDCYjN7C2KAem9s8GEV2UzTuE6LZ9LwMqIXoHrWHZgZdCT-_E/w400-h395/Cleveland%20Eaton,%20Lewis,%20Morris%20Jennings.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">L to R: Cleveland Eaton (bass), Ramsey Lewis, <br />Morris Jennings (drums)</td></tr></tbody></table><p></p>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-45895297010899449402022-09-05T12:06:00.019-07:002022-10-05T21:20:57.939-07:00Interview with Rie Nishioka of the Pen Friend Club <p style="text-align: center;"><span style="font-family: Arial;"><span style="font-size: 14.6667px; white-space: pre-wrap;"><b></b></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiNmDyDY50-keG_kn-rtSbLE-AyxYB-10xZKOvPo8thhA5Abk7L4ugryr7vpR7K1Qm5CDyB-UgMHByrTXoCWjShuvGAHGi_3I1XyTR4oN-wopD08vn1C6p4abzcCABt3bKeX4lo43NG3T56KbROqzaPCm0qGDWuv5sm0qe5sruOjfzfoHXkk4/s843/8th%20album.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="843" data-original-width="843" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiNmDyDY50-keG_kn-rtSbLE-AyxYB-10xZKOvPo8thhA5Abk7L4ugryr7vpR7K1Qm5CDyB-UgMHByrTXoCWjShuvGAHGi_3I1XyTR4oN-wopD08vn1C6p4abzcCABt3bKeX4lo43NG3T56KbROqzaPCm0qGDWuv5sm0qe5sruOjfzfoHXkk4/w400-h400/8th%20album.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Their Self-Titled 8th Album</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial;"><b></b></span></div><span id="docs-internal-guid-c500886a-7fff-ec7c-0625-14b41ee88462"><span id="docs-internal-guid-86fbd6e5-7fff-5b8f-3008-943b3a1e16a9"><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span id="docs-internal-guid-a49ad290-7fff-5657-adec-6731d5f433ee"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">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.
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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.</span></p><div><br /></div></span><span id="docs-internal-guid-148bb51f-7fff-d812-b6b7-9170c234541c"><p dir="ltr" style="background-color: white; line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; padding: 6pt 0pt 0pt; text-align: justify;"><span style="background-color: transparent; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Special mention must be made to Patrick of <a href="http://coolestsound.jp/" target="_blank">Tokyo's Coolest Sound</a> 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.</span></p><div><p style="text-align: left;"><span style="font-family: arial;"><i>This interview is presented in alternating and corresponding Japanese & English.</i></span></p></div></span><div style="font-family: Arial; font-size: 11pt; text-align: left;"><span style="background-color: transparent; color: #222222; font-family: arial; font-size: 10.5pt; font-weight: 700; text-align: justify;">
The Pen Friend Club</span></div></span><p style="text-align: left;"></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">■平川雄一 : (Yuichi Hirakawa) :Guitar, Backing Vocals</span></span></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">■Megumi :Vocals, Backing Vocals</span></span></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">■西岡利恵(Rie Nishioka):Bass, Backing Vocals</span></span></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">■祥雲貴行(Takayuki Sakumo):Drums</span></span></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">■中川ユミ(Yumi Nakagawa):G</span></span><span style="background-color: transparent; font-size: 14px; text-align: left; white-space: pre-wrap;"><span style="color: #222222; font-family: arial;">lockenspiel, </span></span><span style="background-color: transparent; color: #222222; font-family: arial; font-size: 10.5pt; white-space: pre-wrap;">Percussion</span></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">■大谷英紗子(Asako Otani):Saxophone</span></span></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">■リカ(Ricca):Acoustic Guitar, Backing Vocals</span></span></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">■そい(Soi):Organ. Piano, Backing Vocals</span></span></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;"> </span></span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><br /></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">西岡利恵さんはペンフレンドクラブの結成時から参加されていて、キャロル・ケイ/ブライアン・ウィルソン/アル・ジャーディン的な役割を持ち、その複雑なベースラインがグループの魅力的でソフトなポップセンスと挑戦的なアレンジを支えている。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">You have been with <a href="https://the-pen-friend-club.wixsite.com/the-penfriendclub" target="_blank">the Pen Friend Club</a> 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.</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">10周年を迎えたばかりという長い歴史を持つこのグループとはどのように関わるようになったのか教えてください</span><span style="color: #9900ff; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rie: 10年前、リーダーの平川からバンドをやろうと誘われた時はこういうジャンルの音楽をやることも、こんなに長い期間続くことも想像していませんでした。スタジオに入っているうちに、初期の段階で平川の中で表現したい音楽性が固まったようです。ペンフレンドクラブの曲のベースラインやアレンジは彼によるものです。私はもともと60年代、70年代あたりの音楽が好きでしたがペンフレンドクラブの音楽性とは少し違っていたので、バンドをやることで新たな音楽を知って、演奏するのは楽しかったです。ライブ、レコーディングを重ねているうちに気がつけば10年経っていましたが, 新作のアルバムでは初めて創作の部分にも関わり、とても新鮮でした。</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs2QXsMZaNORkoPeYU5h17E7_S9VGbK-bf7f6rHrHhGmrERqVgUgC_L4KGDEBv8Z6kMuQ5Oke3X6XzMUvOD1wN_ImhfC-lsfq-iqfueG8Lhx40Pf1vLdXV_2xWpaGjz5wPrO527YZzo44nhL2lcBgsuIKSyOEY6Zl7DUWHFXbygJ935zsn6TA/s1624/wood%20dividers.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1008" data-original-width="1624" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs2QXsMZaNORkoPeYU5h17E7_S9VGbK-bf7f6rHrHhGmrERqVgUgC_L4KGDEBv8Z6kMuQ5Oke3X6XzMUvOD1wN_ImhfC-lsfq-iqfueG8Lhx40Pf1vLdXV_2xWpaGjz5wPrO527YZzo44nhL2lcBgsuIKSyOEY6Zl7DUWHFXbygJ935zsn6TA/w556-h346/wood%20dividers.jpg" width="556" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">(L to R) Rie Nishioka (w/Rickenbacker 4001), Takayuki Sakumo, Megumi,<br />Yumi Nakagawa, Ricca, Yuichi Hirakawa, Soi, Asako Otani</td></tr></tbody></table><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Tell us about how you got involved with the long-running group who just celebrated their tenth anniversary?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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.</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">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?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Were you familiar with West Coast harmony/sunshine pop sounds before becoming a member of the Pen Friend Club?</span><span style="color: blue; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;"><br /><br /></span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rie: I listened to The Beach Boys and others a little, but before that I listened to more British music.</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">The Pen Friend Clubの新しいアルバムが録音されたと読みました。</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">その方向性についての詳細を教えていただけますか?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rie: </span><span style="background-color: white; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">9/7に8thアルバムがリリースされます</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">。これまでと大きく違うのは全オリジナル曲ということ、アコースティックギター・コーラスのリカと私が曲作りに参加したことがあります。これまでのアルバムではオリジナル曲は平川作でしたが、今回別メンバーが参加して、それぞれの音楽性の重なる部分と違いとがよく表れているように思えるので、新しいアクセントになっていれば嬉しいです。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><b><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">ちなみに、ニューアルバムでは西岡さんが「The Sun Is Up」「</span><span style="background-color: white; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">At Least For Me Tonight」「People In The Distance」「A Better Day」</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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。</span></b></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="color: #b7b7b7; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">I read that a new Pen Friends Club album has been recorded.</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Would you be able to offer any details or descriptions on its direction?</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rie: Our <a href="http://www.sazanamilabel.com/catalogue/the-pen-friend-club-2/" target="_blank">8th album</a> will be released on Sept. 7, 2022 on the <a href="http://www.sazanamilabel.com/" target="_blank">Sazanami Label</a>. 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.</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: bold; vertical-align: baseline; white-space: pre-wrap;">For the record, </span><span style="background-color: white; font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="font-size: 11pt; white-space: pre-wrap;"><b>Rie composed the music of these songs on <a href="https://the-pen-friend-club.wixsite.com/the-penfriendclub/the-pen-friend-club-album-cd" target="_blank">the new album</a>: "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.
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/xR8SAfYDCiU" title="YouTube video player" width="560"></iframe></b></span>
<br /><span style="font-size: 14.6667px; white-space: pre-wrap;"><b> The Pen Friend Club / The Sun Is Up (Official Music Video)
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<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/09Nx6C6RfrA" title="YouTube video player" width="560"></iframe>
</b><span style="font-size: 14.6667px; white-space: pre-wrap;"><b> The Pen Friend Club / Beyond The Railroad (Official Music Video)</b></span><b style="font-size: 11pt; white-space: pre-wrap;">
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</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Schultzというバンド名はどのように思いついたのですか?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">How did you come up with the band name of Schultz?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rie: The name is taken from the creator of Snoopy, although the spelling is different.</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Schultzに2人の女性メンバーがいたことがありますか?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rie: Schultzを結成した時は5人の女性だけのバンドでした。それまで楽器経験のなかったメンバーたちとスタジオに入り音を出していたのはガレージ的で面白かったですが、メンバーがスペインに引っ越したのを機にしばらく演奏することがなくなっていました。随分経ってから、ボーカルだった向井はるかがペンフレンドクラブに加入することになり、その時Schultzも復活させました。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Did Schultz ever have two female members?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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.</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">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</span><span style="font-family: Arial; font-size: 11pt; font-weight: 700; white-space: pre-wrap;">あるようです。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">これらの録音をする予定はありますか?
</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">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.”</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Are there any plans to offer these recordings?
</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rie: There are no concrete plans so far, but I might think about recording sometime.</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="color: #cc0000; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">
</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVJgo0Kf2mQEeSVTEzOn7ZI3xoyUsmo8BLF7fFBBd5W3GuYlr84vcCMUlI8MDiMyr8EIW_2dATfh7otoHXxdYEblx7n9nz6vdyCZpYJMwbFNt7-ruKqphlNV2wPn8hHa7TznJXBYUqFoAkRvqVxI7Gq9DHZA2wiP8ZCcJ43r8eeILVb400SPM/s960/schultz.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="719" data-original-width="960" height="379" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVJgo0Kf2mQEeSVTEzOn7ZI3xoyUsmo8BLF7fFBBd5W3GuYlr84vcCMUlI8MDiMyr8EIW_2dATfh7otoHXxdYEblx7n9nz6vdyCZpYJMwbFNt7-ruKqphlNV2wPn8hHa7TznJXBYUqFoAkRvqVxI7Gq9DHZA2wiP8ZCcJ43r8eeILVb400SPM/w506-h379/schultz.jpg" width="506" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Schultz (L to R) Hiroyuki Anabuki, Takayuki Sakumo, <br />Rie Nishioka, Atsushi Jinno</td></tr></tbody></table><p></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">Schultz 2022 line-up</span></span></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">■西岡利恵(Rie Nishioka) :Guitar, Vocals</span></span></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">■神野敦史 (Atsushi Jinno) :Guitar, Backing Vocals</span></span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="color: #cc0000; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"></span></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">■ </span></span><span style="background-color: transparent; color: #222222; font-family: arial; font-size: 10.5pt; white-space: pre-wrap;">穴吹洋之(Hiroyuki Anabuki):Bass
</span><span style="color: #222222; font-family: arial; font-size: 14px; white-space: pre-wrap;">■ </span><span style="background-color: transparent; color: #222222; font-family: arial; font-size: 10.5pt; white-space: pre-wrap;">祥雲貴行(Takayuki Sakumo):Drums, Backing Vocals</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">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。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">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?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">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.</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQl1kcaXdBvm_eNIy9B-9FT0HNW6uMDn9PNwvJVEGjkL2tSRx8bz1YFrhpqiKRm0Px48aFhUvO9EipU8Winc4RG2AnY8kzls5OKmUpMzXVXnUoqRIY59PggnAMEY5pbtPIrwt4PVB5Pw9pqdKJjqgXUtV3XvEzvY9IqmG-6RIfoLijfrFDyF0/s960/Add%20Some%20Music.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="960" data-original-width="771" height="488" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQl1kcaXdBvm_eNIy9B-9FT0HNW6uMDn9PNwvJVEGjkL2tSRx8bz1YFrhpqiKRm0Px48aFhUvO9EipU8Winc4RG2AnY8kzls5OKmUpMzXVXnUoqRIY59PggnAMEY5pbtPIrwt4PVB5Pw9pqdKJjqgXUtV3XvEzvY9IqmG-6RIfoLijfrFDyF0/w393-h488/Add%20Some%20Music.jpg" width="393" /></a><br /><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Has there been any DEAR MY FRIENDS recording sessions and/or recordings slated to be released?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rie: Regarding DEAR MY FRIENDS, so far there are no plans of recording, as the goal is to perform live.
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</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="font-size: 14.6667px; white-space: pre-wrap;"><b>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?</b></span><b style="font-size: 11pt; white-space: pre-wrap;">
</b><span style="font-size: 11pt; white-space: pre-wrap;">
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。</span></span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">How did you come up with the band name of DEAR MY FRIENDS?
</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rie: It wasn't me who chose the name, but it seems that it was taken from a song title.</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">DEAR MY FRIENDSにはSchultzのメンバーも参加されていますか?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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。</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">I’m also curious if Schultz shares any members with DEAR MY FRIENDS?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rie: Two of the support members of Schultz are also in DEAR MY FRIENDS.</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">I am not the main person in DEAR MY FRIENDS, three others had already formed it and I joined.
</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-6SIPeWPNP46yaZ31HsBB5IfL2-1c9K-CeH8aheMBPkIy5pFlz3-4uO7AMicn5EAkSIK1TbsiDnDvtNJA8Lh0QL-JBxuNqk_Qo2eFr1K1pYWgYqNVgufu4b4s0O4IwBwIuGbhfB7EF7eKIoJpand7Do4gPp7Ck8gflqaCMduRs4_YDT7jm-E/s863/DEAR%20MY%20FRIENDS.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="538" data-original-width="863" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-6SIPeWPNP46yaZ31HsBB5IfL2-1c9K-CeH8aheMBPkIy5pFlz3-4uO7AMicn5EAkSIK1TbsiDnDvtNJA8Lh0QL-JBxuNqk_Qo2eFr1K1pYWgYqNVgufu4b4s0O4IwBwIuGbhfB7EF7eKIoJpand7Do4gPp7Ck8gflqaCMduRs4_YDT7jm-E/w507-h316/DEAR%20MY%20FRIENDS.jpg" width="507" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">DEAR MY FRIENDS (L to R) Bookie, Monko, JinJin, Rie</td></tr></tbody></table><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">
</span><p></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">DEAR MY FRIENDS</span></span></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">■Monko :Guitar, Vocals</span></span></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">■Bookie :Bass, Backing Vocals</span></span></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">■JinJin :Drums, Backing Vocals</span></span></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">■Rie :Keyboards, Backing Vocals </span></span></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;"> </span></span></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;">Schultz and DEAR MY FRIENDS have the same bassist (</span></span><span style="background-color: transparent; font-size: 14px; text-align: left; white-space: pre-wrap;"><span style="color: #222222; font-family: arial;">Hiroyuki Anabuki)</span></span><span style="background-color: transparent; color: #222222; font-family: arial; font-size: 10.5pt; white-space: pre-wrap;">, and Schultz's guitarist </span><span style="color: #222222; font-family: arial; font-size: 14px; white-space: pre-wrap;">(Atsushi Jinno) </span><span style="background-color: transparent; color: #222222; font-family: arial; font-size: 10.5pt; white-space: pre-wrap;">is the drummer in DEAR MY FRIENDS.</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><br /></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="background-color: white; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">ソロでのレパートリーについて詳しく聞かせてもらえますか?</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">ソロアーティストとしてレコーディングする予定はありますか?また、ソロでのライブ活動を続ける予定はありますか?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rie: ソロについては先日のイベントのために行ったものでした。すべてカバーで、バンドではやらない普段聴いている好きな曲を選びました。Buffalo Springfield、Grateful Dead、Jim Croce、Cowboy、Brewer & Shipleyの曲です。今のところ定期的なライブやレコーディングは考えていませんが、また前回のAdd Someのような機会があったらやってみたいと思います。</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="background-color: white; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Could you share more insight on your solo repertoire?</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Are you planning to record as a solo artist? Also, do you have any plans to continue live as a solo performer?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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.”</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">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?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Have you considered incorporating any Buck Owens and His Buckaroos songs into your set repertoire?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rie: I haven’t put Buck Owens and His Buckaroos in my solo repertory, but previously in Schultz we played a cover of <a href="https://www.youtube.com/watch?v=_nGGHf63Zqc" target="_blank">“Above & Beyond.”</a> Country didn’t match with the musical style of Schultz, but I like this song very much.</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">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。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">この流れだと、ソロでSeals & Croftsの曲が含まれる可能性はありますか?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rie: WebVANDAでは好きなもの、興味のあるものについて書いているので、自然とカバーしている内容と一致することが多くなりました。Seals & Croftsは前回の選曲には含めませんでした。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Your current repertoire of music frequently coincides with your writing projects which regularly appear on <a href="https://www.webvanda.com/" target="_blank">WebVANDA</a>. For example, you wrote overview pieces on <a href="https://www.webvanda.com/2018/08/the-rising-storm-calm-before.html" target="_blank">the Rising Storm</a> and <a href="https://www.webvanda.com/2020/04/the-enfields-friends-of-family.html" target="_blank">the Enfields</a>. 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.</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Following this same pattern, will there be Seals & Crofts songs in your solo set?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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 <a href="https://www.webvanda.com/2021/08/seals-crofts.html" target="_blank">Seals & Crofts</a> last time.</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">このように多数の音楽プロジェクトは注目を集め、西岡さんの音楽スタイルの幅広さと多様性を示しています。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">This multitude of musical projects command attention and display Rie’s stylistic range and versatility.
</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgubN0T0lc3zJNk98PN33TRW-WyScMkpbKYcCR0zS0r4Tss5fQ-0q6zw0hs5sPcM5cAG9xM1jb6nUaEsVarnPlBiOWbPQb3iJpom4hd4I4iETRc0qlxWNC9zq1oz-rceRtLMcVbEnmgdb5hHnExbJykZUxwtvp4RBfG7yv4gVUGOHpEI0ZPJWA/s680/solo.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="680" data-original-width="680" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgubN0T0lc3zJNk98PN33TRW-WyScMkpbKYcCR0zS0r4Tss5fQ-0q6zw0hs5sPcM5cAG9xM1jb6nUaEsVarnPlBiOWbPQb3iJpom4hd4I4iETRc0qlxWNC9zq1oz-rceRtLMcVbEnmgdb5hHnExbJykZUxwtvp4RBfG7yv4gVUGOHpEI0ZPJWA/w400-h400/solo.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rie playing solo at Add Some Music to Your Day<br /> April 24, 2022</td></tr></tbody></table><br /><div style="text-align: center;"><br /></div><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">The Pen Friend Club</span><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">は、</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Jeffrey Foskett</span><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">と共演したことがあるそうですね。</span></p><p style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; font-family: Arial; font-size: 11pt; font-weight: 700; text-align: left; white-space: pre-wrap;">他に北米あるいはヨーロッパのバンドとの共演はありましたか?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rie: 2015年にThe Zombies来日公演のオープニングアクトとして出演しました。</span></p><br /><span style="background-color: white; font-family: Arial; font-size: 14.6667px; font-weight: 700; text-align: justify; white-space: pre-wrap;">I believe the Pen Friend Club has shared stages with Jeffrey Foskett.</span><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Are there any other North American or European acts who have appeared with the Pen Friend Club at the same concert? </span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rie: In 2015, we played as the opening act when The Zombies came to Japan.</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">西岡さんのご家族には他にミュージシャンがいらっしゃいますか?</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">若い頃はどんな音楽を聴いていましたか?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rie: 音楽一家ではなく、私自身も音楽をよく聴くようになったのは遅めでした。10代前半はハードロック、後半はブルースをよく聴いていました。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Do you come from a musical family?</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">What type of music did you listen to as a youngster?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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.</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b>ミュージシャンになりたいと思ったきっかけは何ですか?
</b><span style="font-size: 11pt;">Rie: やりたいことをやっていたら日常の中で音楽の割合が多くなりましたが、職業ではありません。</span><b>
</b></span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">What made you want to become a musician?
</span><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">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.</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">西岡さんは子供向けテレビ番組の「セサミストリート」がお好きなようです。</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">セサミストリートは世界中においてその現地語版が存在することは知っていましたが、日本でも長く放送されていて影響力があることを最近まで知りませんでした。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rie: セサミストリートは英語を学ぶために見始めましたが、多くのミュージシャンがキャラクターとセッションしているのが好きでした。エルビスコステロを聴くようになったのはこの番組がきっかけです。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">I saw that you have an affinity for the children’s television show Sesame Street?</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">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.</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">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.</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">現在の日本のバンドでおすすめはありますか?</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">CHILDISH TONESや秘密のミーニーズはかなり熟練しているようです。</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><br /></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rie: 日本の音楽は、イベントでご一緒したりして魅力的なバンドを知ることが多かったです。Childish Tonesはにぎやかで楽しい雰囲気も素敵だし、サスティーンの短い独特な音がThe Milkshakesのような空気感があってかっこいいと思いました。秘密のミーニーズの渇いた空気感や郷愁が感じられる曲やサウンドもとても好きです。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Are there any other current Japanese bands you would like to mention and recommend?</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;"><a href="https://www.youtube.com/watch?v=6zaIwA_gl0g" target="_blank">Childish Tones</a>? <a href="https://secretmeanies.bandcamp.com/" target="_blank">The Secret Meanies</a> sound pretty proficient.</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"></p><div style="text-align: justify;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">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.</span></div><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">
</span><p></p><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaO1i-SQIiVvQ3FqBuMaGthl62ko1zNMQ6qcgafdcwtszCbHHaH8LcwJLIiINZRdgGToGRmlTyWwjdA0Sr_j769eVMNmyOk4E7A5GvYSNByHCoEoFZa9ZoS01yPzPBsHREy0aJZabfxsROoHeJOobyCisSXeTckydrnq4uKFszH6llQa-OEVY/s1200/Childish%20Tones.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="960" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaO1i-SQIiVvQ3FqBuMaGthl62ko1zNMQ6qcgafdcwtszCbHHaH8LcwJLIiINZRdgGToGRmlTyWwjdA0Sr_j769eVMNmyOk4E7A5GvYSNByHCoEoFZa9ZoS01yPzPBsHREy0aJZabfxsROoHeJOobyCisSXeTckydrnq4uKFszH6llQa-OEVY/w374-h466/Childish%20Tones.jpg" width="374" /></a></span></div></div><p></p> <span style="font-family: Arial; font-size: 11pt; font-weight: 700; white-space: pre-wrap;">最近、大滝詠一をたくさん聴いています。 YouTubeのおかげで、彼の音楽は5年程前からアメリカでより知られるようになり始めました。</span><br /><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">The Pen Friend Clubがこのエキサイティングなシティポップムーブメントに含まれる現代的なバンドの1つであることについてはどう思いますか?</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rie: 私自身はシティポップというジャンルに詳しくはないのですが、時々ペンフレンドクラブがシティポップだと言われることがあります。リスナーの方の音楽性によってバンドのどの側面が際立って見えるかが変わってくるのは興味深いです。</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">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.</span></p><br /><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">How do you feel about the Pen Friend Club being one of the contemporary bands included in the exciting City Pop Movement?</span></p><br /><div style="text-align: justify;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">Rie:</span><i style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"> </i><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">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.</span></div><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">
</span><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO9_4GZB7d3eoTyo6-GbR1eQMUIaa3oAZverDw_xuq2UYfIORfpKd9uciQ499-7BIiCiZiV_zkglA1FlIKMUXAmz-f0Uytm3vRz5nrIC2sDcfDbCQqDOIxfFZKQZ09hZy0yyfHzjNHh41zWPb-c6P52afrcsTFEzyFiKYsvymOSWy_OlEuCNU/s1568/PFC%20live.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1044" data-original-width="1568" height="359" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO9_4GZB7d3eoTyo6-GbR1eQMUIaa3oAZverDw_xuq2UYfIORfpKd9uciQ499-7BIiCiZiV_zkglA1FlIKMUXAmz-f0Uytm3vRz5nrIC2sDcfDbCQqDOIxfFZKQZ09hZy0yyfHzjNHh41zWPb-c6P52afrcsTFEzyFiKYsvymOSWy_OlEuCNU/w537-h359/PFC%20live.jpg" width="537" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Pen Friend Club in Concert</td></tr></tbody></table></div>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-35971244796673949172022-08-30T07:45:00.005-07:002022-08-30T10:05:25.127-07:00The Sidewinders-S/T<span id="docs-internal-guid-b0f696b9-7fff-c79f-1e8f-a1d7dc3a2b6d"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmivgUnMyTNfuX8jZ--wmJdVMvwO60D01dHmiRUN-zgyWBWcGiu79FRWh4CUWMyNpkYkQVJZXKzyABgazqHGK8iAF6ByvxMo6mw0I95SolzY5ckHtM5skZsP8qqpc8lTAJb6qbGS9W8elHQp6r61FLcy-n3VJEWYBZ3hkFdHczSQxtuSZ23As/s599/cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="596" data-original-width="599" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmivgUnMyTNfuX8jZ--wmJdVMvwO60D01dHmiRUN-zgyWBWcGiu79FRWh4CUWMyNpkYkQVJZXKzyABgazqHGK8iAF6ByvxMo6mw0I95SolzY5ckHtM5skZsP8qqpc8lTAJb6qbGS9W8elHQp6r61FLcy-n3VJEWYBZ3hkFdHczSQxtuSZ23As/w400-h398/cover.jpg" width="400" /></a></div><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><br /></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #333333; font-family: Arial; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Taking their name from the Byrds’ Roger McGuinn song, "Chestnut Mare,” the Sidewinders were</span><span style="background-color: transparent; color: #222222; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> neither country nor from the West. However, the quintet were considered by many to possibly be the best live band in Boston during the dawn of the ‘70s. Their competition was fierce as the future mega-stars Aerosmith and the insurgent Modern Lovers were playing the same circuit. </span><span style="background-color: transparent; color: #333333; font-family: Arial; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; color: #222222; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In Boston, they opened for a variety of acts ranging from Big Star and the Grateful Dead to Del Shannon.They made the big time jump to New York and became quite the live sensation at Max’s Kansas City in Manhattan, where they became the house band and lead singer Andy Paley made it on the cover of Andy Warhol’s </span><span style="background-color: transparent; color: #222222; font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Interview </span><span style="background-color: transparent; color: #222222; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">m</span><span style="background-color: transparent; color: #222222; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">agazine</span><span style="background-color: transparent; color: #222222; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. They also have the historical distinction of being the second band to play at Max’s Kansas City after the Velvet Underground. Despite all the complications, they made it happen and continued the Boston tradition of making people want to hit the dance floor and linking Barry & the Remains and the Real Kids in the process.</span><span style="background-color: transparent; color: #333333; font-family: Arial; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; color: #222222; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Their eponymous debut is also notable for being the first <a href="https://wendy-city.blogspot.com/2021/09/" target="_blank">Lenny Kaye</a> production.</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">
<b>Lester Bangs Seal of Approval</b> </span></span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="background-color: transparent; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">In a 1972 </span><span style="background-color: transparent; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Creem</span><span style="background-color: transparent; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> review of their debut album, Lester Bangs called them, “Perhaps the “Live Rock ‘n’ Roll” surprise of the year.” However, Bangs considered the recording thin for its lack of bottom. A recent </span><span style="background-color: transparent; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Ugly Things</span><span style="background-color: transparent; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> interview has Lenny Kaye describing his production as “dry” and that he was exercising restraint from embellishments because he was wary of overproducing. Like the similar crisp production of MC5’s </span><span style="background-color: transparent; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Back in the USA</span><span style="background-color: transparent; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">, Kaye’s sparse treatment gives the Sidewinders’ sound a distinctive streamlined minimalism that matches the music. Presented with this spacious production, these compact and competently played songs still stand out 50 years later as examples of proto-power-pop. Further, the album offered a more mainstream take on what the Velvet Underground (<i>Loaded</i>-era) and the Modern Lovers were doing around the time. In some quarters, the record received criticism for sounding too commercial due to its catchiness. What do you expect for an album on RCA? A 1972 </span><span style="background-color: transparent; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Billboard</span><span style="background-color: transparent; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> review got directly to the point: “Probably more closely geared to the Top 40 phenomenon, than underground.” With its clean production lines, it definitely would have passed the Motown test of jumping out from the dashboard AM radio.
</span></span></span></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/dYlFcQTYjSw" title="YouTube video player" width="560"></iframe><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-family: Arial; font-size: 11pt; white-space: pre-wrap;"> </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: #222222; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/mklautYs8M4" title="YouTube video player" width="560"></iframe>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/36wYyyGmvTc" title="YouTube video player" width="560"></iframe>
Surprisingly, there are no traces of any singles being released by RCA. While not really representative of their propelling sound, “Moonshine” goes down smoothly and probably would’ve been tapped as their first 45. I do prefer the original version of “Rendezvous” over the Paley Brothers’ version that is more commonly heard. It’s one of the few times where a slower tempo works better for me. The dashing “O Miss Mary” has the feel of the Real Kids picking up the pace on “Sweet Jane,” with the song being carried along by its sweeping chorus. The foreshadowing of the Real Kids continues with the snappy “Got You Down.” The brisk song uncoils with guitars galore, including that “NYC subway sound” as coined by Jonathan Richman to describe the Velvet Underground. “Reputation” traces the lines through the Rolling Stones and "Jump into the Fire" by their RCA labelmate Nilsson. Surprisingly, Billy Squire would later join the band after this album was released and before he joined Piper. The talented Andy Paley went on to the pure pop act of the Paley Brothers before extensive songwriting, production and musical support work with Brian Wilson, Jonathan Richman, April March and SpongeBob SquarePants. While not an exceptional album in its entirety, it does have its inspired and lasting moments. Overall, it’s remarkable this direct and tuneful album was released in the first place by RCA-especially considering how contrasting it was from the prevailing sounds & styles during rock ‘n’ roll’s mostly lost years of the early ‘70s.</span></p><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4zQfUIPpIJv4a6oZPtnswOPd64h3KX88Ov8-SowX-cQuFiLnXGz04ioyVFWzJezqVOLP_GIq81B69ZcsR_f3QbNv60I-KRKYiZzewXP7GBi0AKWJnoqffuaiykdATa-YMKTRIJOzjsgJi8m9-rdy268b-qvdI00ja1aw8yNAjzMYB-k__Xi4/s551/Cashbox%20Feb%2019,%201972.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="383" data-original-width="551" height="387" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4zQfUIPpIJv4a6oZPtnswOPd64h3KX88Ov8-SowX-cQuFiLnXGz04ioyVFWzJezqVOLP_GIq81B69ZcsR_f3QbNv60I-KRKYiZzewXP7GBi0AKWJnoqffuaiykdATa-YMKTRIJOzjsgJi8m9-rdy268b-qvdI00ja1aw8yNAjzMYB-k__Xi4/w557-h387/Cashbox%20Feb%2019,%201972.JPG" width="557" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Cashbox</i> Feb. 19, 1972</td></tr></tbody></table></div></span>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-12327354931723553192022-08-20T21:17:00.022-07:002022-08-21T17:53:31.840-07:00Ko and The Knockouts-20 Years Later<p style="text-align: justify;"><span style="font-family: Arial;"><span style="font-size: 14.6667px; white-space: pre-wrap;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifQsMe4xvA2lANDfws3cbhmt8U9hA1JwyANZm1dH7-naVS2ssvIP_o9AGCLad_SPjJJMrJOwAxYo0Xq-UEIQqYlLpwQLowqJuz4UCdlUJ0XCSSqYaaUi6WVnNUraT8FITpiPbB2i7i53eQU02Oj8z7k0rDQpn1obNWGrqRtt1sEZKJccanT2Q/s640/Ko%20and%20the%20Knockouts.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifQsMe4xvA2lANDfws3cbhmt8U9hA1JwyANZm1dH7-naVS2ssvIP_o9AGCLad_SPjJJMrJOwAxYo0Xq-UEIQqYlLpwQLowqJuz4UCdlUJ0XCSSqYaaUi6WVnNUraT8FITpiPbB2i7i53eQU02Oj8z7k0rDQpn1obNWGrqRtt1sEZKJccanT2Q/w400-h400/Ko%20and%20the%20Knockouts.jpg" width="400" /></a></span></div><p></p><div><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">This Detroit trio came and went like a flash of lightning. I still recall the excitement of hearing this blast out of the speakers for the first time. At the time, they most reminded me of early Blondie. Hearing this 20 years later, Ko’s vocals recalled Lisa Marr of cub coupled with the rust belt resolve of Chrissie Hynde, while the band surges with the dynamic energy of the Embrooks. </span></p></div><span id="docs-internal-guid-62226160-7fff-77e1-0ca4-264d2d7deb43"><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">This 2002 album released by SFTRI captures their early momentum of their brief short-lived heyday (2001-2003). They generated quite an initial stir as they quickly found their sound that has retained an enduring edge. In fall 2003, I was fortunate to see them in Tucson at Solar Culture opening for Holly Golightly with Ko backed by an entirely different line-up than the musicians heard on this recording (Eddie from the Sights on guitar and Jeff Klein on drums, Jim Diamond on organ and some others from Rocket 455). While the show was good, there was a seemingly discontented mood of “I would rather be somewhere else” feeling in the air. Tucson is certainly a lovely place to be in November. Perhaps it was an off night like we all have.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Songs like “Cry No More” and “Go Getter” are instantly captivating with their dashing tempos and Ko’s harmonized vocals leading the way. “Set Me Free” breakouts like the incendiary freakbeat stormer “When the Night Falls” by the Eyes. Fittingly, a serrated cover of the (UK) Birds’ "You're on My Mind" follows. They are able to slow things down with the smoldering “You Did It,” which displays their command of rhythm & blues and now emerges as a worthy candidate for sync licensing. Their inspired and charged-up cover of Nolan Stong’s "If I (Could Be With You Tonight)" is up there with the best of the Detroit Cobras as they make this Fortune Records group harmony classic entirely their own. This would have also fit perfectly on 2013’s</span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> <a href="https://en.wikipedia.org/wiki/Daddy_Rockin%27_Strong:_A_Tribute_to_Nolan_Strong_%26_the_Diablos" target="_blank">Daddy Rockin' Strong</a>: A Tribute to Nolan Strong and the Diablos</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. “I Wanna (See You Again)” is an indelible out-of-time pop song with a growling guitar expressing their inherent grittiness that was mislabeled as "Twistin Postman" (and never corrected on the 2007 Wicked Cool reissue).
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=161571321/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=579857556/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://koandtheknockouts.bandcamp.com/album/ko-and-the-knockouts">Ko and The Knockouts by Ko and the Knockouts</a></iframe></span><br /></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=161571321/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1970116751/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://koandtheknockouts.bandcamp.com/album/ko-and-the-knockouts">Ko and The Knockouts by Ko and the Knockouts</a></iframe>
They were quite the garage power trio and frequently took their propulsive rock ‘n’ roll sound out to the edges of glory, demonstrating that the roll is as important as the rock. Their memorable songs are still striking not only for their infectious hooks and catchy melodies, but also for their combination of straightforwardness with some deft lane changes within songs. All this should have made them contenders on the level somewhere between the subterranean Subsonics and the major label-era of the Muffs. Overall, they made their first foray into recording appear so easy to do.
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=161571321/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=924397249/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://koandtheknockouts.bandcamp.com/album/ko-and-the-knockouts">Ko and The Knockouts by Ko and the Knockouts</a></iframe>
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Their self-titled power-packed album added a new layer to the Motor City's monumental tradition of stripped-down rock ‘n’ roll. Consequently, has there ever been a Detroit group and/or singer more deserving of thunderous applause and opportunity for a second act? </span>
</span></p></span>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0tag:blogger.com,1999:blog-29147952.post-61995936647661935232022-07-22T14:02:00.015-07:002022-07-24T18:04:59.972-07:00Eiichi Ohtaki-NIAGARA CONCERT '83 <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY1qLCAoxFwWGcfRp1Hjv4QI6nioUCRojJAu_AUgwiBx0M2r0IQNC1rWcUMjFHeFzon-97c5H8j9sEtl98wm9E5zEvxMTPVQh9bkXSHPw9A2O6TdbLSzJdP1JNm3uohOgZlVr8elYEUnVOAcu2F8sJluCUR5CXFuMLj3e4fwDFI4ICzs9HTDU/s600/sony%20cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="595" data-original-width="600" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY1qLCAoxFwWGcfRp1Hjv4QI6nioUCRojJAu_AUgwiBx0M2r0IQNC1rWcUMjFHeFzon-97c5H8j9sEtl98wm9E5zEvxMTPVQh9bkXSHPw9A2O6TdbLSzJdP1JNm3uohOgZlVr8elYEUnVOAcu2F8sJluCUR5CXFuMLj3e4fwDFI4ICzs9HTDU/w400-h396/sony%20cover.jpg" width="400" /></a><br /><br /></div><span id="docs-internal-guid-2fabe3de-7fff-2bd3-947d-9ad6b095a519"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="font-size: 11pt; white-space: pre-wrap;">Eiichi Ohtaki (1948-2013) was a towering musical figure in Post-WW2 Japanese music. One of his foremost strengths was his ability to ingeniously unify a multitude of musical and non-musical influences into a captivating and cohesive whole. Many of his musical achievements were seemingly impelled by his natural ease and resolve to manifest, express and share his own envisioned artistic world. In addition, his overall passion for music was second to none. Inspired by his surname which means “Big Waterfall,” he established his <a href="https://www.sonymusic.co.jp/artist/EiichiOhtaki/" target="_blank">Niagara label</a> to release his own music along with the music of counterparts like <a href="https://citypop.onvinyl.jp/item/crc1016-17/" target="_blank">Taeko Onuki</a> and <a href="https://en.wikipedia.org/wiki/Tatsuro_Yamashita" target="_blank">Tatsuro Yamashita</a>, who both would go on to renown in the Japanese mainstream during the late ‘70s and ‘80s. Collectively, their releases have gone on to be considered the core recordings of what is now known retroactively as <a href="https://en.wikipedia.org/wiki/City_pop" target="_blank">City Pop</a>. This music has been at its heights of popularity this decade as it has found a worldwide audience thanks to streaming.</span>
</span></p><div style="text-align: center;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="font-size: 14.6667px; white-space: pre-wrap;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAE4gLVLIR8KbGeyKMG6u6JERyL33naMryUptF4_fOZSV8xl1sU_FmpxnWbXkw5dGgKuOjYbyfy0nkqENSOvYTr-5LzX0XNbV5yUene-q5SSdf09036ZJfWiXCT859qxdqsiTgDnIlRuNfJ4Tw9nSUoR8v5kjG8pGbceXJl3276bezJbSqD8c/s770/eiichi-ohtaki-in-studio-min.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="770" data-original-width="770" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAE4gLVLIR8KbGeyKMG6u6JERyL33naMryUptF4_fOZSV8xl1sU_FmpxnWbXkw5dGgKuOjYbyfy0nkqENSOvYTr-5LzX0XNbV5yUene-q5SSdf09036ZJfWiXCT859qxdqsiTgDnIlRuNfJ4Tw9nSUoR8v5kjG8pGbceXJl3276bezJbSqD8c/w400-h400/eiichi-ohtaki-in-studio-min.jpg" width="400" /></a></div></span></div><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Ohtaki himself has been called many things: Super Producer, the Japanese Phil Spector, and the Pioneer of City Pop. Unlike Phil Spector, the more you learn about Ohtaki, the better you like him as a person and artist. As a producer and composer, he deserves to be considered in the same visionary musical realms as Brian Wilson, <a href="http://wendy-city.blogspot.com/2020/10/gregorio-paniagua-batiscafo.html" target="_blank">Gregorio Paniagua</a> (Spain), <a href="http://wendy-city.blogspot.com/2017/01/kyhber-mail-by-sohail-rana.html" target="_blank">Sohail Rana</a> (Pakistan) and Joe Meek. In fact, he's the most Beach Boys and ‘50s & ‘60s-influenced musician of the so-called City Pop musicians as some City Pop has a little too much </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Miami Vice Soundtrack</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">-ish gleam on it for my ears. Some of Ohtaki’s notable productions include <a href="https://rateyourmusic.com/release/album/%E3%82%B7%E3%83%AA%E3%82%A2%E3%83%BB%E3%83%9D%E3%83%BC%E3%83%AB/%E5%A4%A2%E3%81%A7%E9%80%A2%E3%81%88%E3%81%9F%E3%82%89/" target="_blank">Celia Paul’s </a></span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><a href="https://rateyourmusic.com/release/album/%E3%82%B7%E3%83%AA%E3%82%A2%E3%83%BB%E3%83%9D%E3%83%BC%E3%83%AB/%E5%A4%A2%E3%81%A7%E9%80%A2%E3%81%88%E3%81%9F%E3%82%89/" target="_blank">Yume De Aetara</a></span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> from 1977 and 1981’s </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Kaze Tachinu</span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="font-size: 11pt; white-space: pre-wrap;"> by <a href="https://en.wikipedia.org/wiki/Seiko_Matsuda" target="_blank">Seiko Matsuda</a>, which both shine with their ‘60s leaning production styles. Another aspect of Ohtaki’s immense talents was his ability to compose instantly catchy songs and create art on demand. In similar fashion to <a href="https://en.wikipedia.org/wiki/Roger_Nichols_(songwriter)" target="_blank">Roger Nichols</a> in the United States, Ohtaki was commissioned to <a href="https://www.youtube.com/watch?v=1L3FpmXvQTg&t=408s" target="_blank">compose catchy commercial jingles</a> (known as CM songs in Japan) for iconic Japanese products like the Sony Digital Handycam, Maxim Instant Coffee, Suntory Lemon, and Mitsuya Cider. Further, I can envision <a href="https://www.harukimurakami.com/author" target="_blank">Haruki Murakami</a> writing to this music as the<a href="https://en.wikipedia.org/wiki/List_of_Waseda_University_people" target="_blank"> </a><a href="https://en.wikipedia.org/wiki/List_of_Waseda_University_people" target="_blank">Waseda University alumni</a> seemingly share a similar pop culture aesthetic that encompasses a love for baseball, real & imagined travel and a deep knowledge of Western music, all which informs and inspires their respective art forms.
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</span></p><div style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgItx_yykRv-94HrKUxFfojRX0qkBexmEC-7zc5FeR7AdVhILH_r8ruifK5m7BUbkxv-Kr4sKX1grwkonrp_jnq_v3HW7Mjzg7ZwkWaqrZfqON4VRV_UBJvYyYvwbgHa_HHvWVOw1eW3x_S6mwUjURxZE2lDnMCD7Ji-lAdDaDHcxQEQvhJXA4/s1724/A%20Long%20Vacation.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1199" data-original-width="1724" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgItx_yykRv-94HrKUxFfojRX0qkBexmEC-7zc5FeR7AdVhILH_r8ruifK5m7BUbkxv-Kr4sKX1grwkonrp_jnq_v3HW7Mjzg7ZwkWaqrZfqON4VRV_UBJvYyYvwbgHa_HHvWVOw1eW3x_S6mwUjURxZE2lDnMCD7Ji-lAdDaDHcxQEQvhJXA4/w475-h331/A%20Long%20Vacation.jpg" width="475" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Tokyo City Pop in the record store wilds of Osaka</td></tr></tbody></table></div><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">
</span><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; text-align: left; vertical-align: baseline;"> <b style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">Arrivals & Departures</b><span style="font-family: Arial;"><span style="font-size: 11pt; white-space: pre-wrap;">
One can jump into Ohtaki’s catalog at any point and discover if it’s not immersive, it is intriguing at the least. Some of his ‘70s material could be pastiche-almost to the point of a Zappa-esque mishmash where he combines elements of doo wop and the Beatles in one song and generally works depending on one’s mood. He was indeed a musical omnivore as he incorporated, assembled and arranged elements of Okinawan folk music, Gershwin, exotica, Roy Wood’s Wizzard as well as Caribbean and New Orleans rhythms besides the aforementioned ‘50s & ‘60s pop influences. By the early 80s, he was able to transition from the idiosyncratic </span></span></span><span style="font-family: arial;"><span face="Roboto, sans-serif" style="background-color: white; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: left; vertical-align: baseline; white-space: pre-wrap;">sound of his own private musical jukebox in his head, which can be a wonderful and whimsical place, and breakthrough to a more wide-open, boundless and universal sound. By evoking and expressing the feelings of departures, new experiences and returning home filled with newfound insights and inspiration, he found a memorable sound that had the most widespread appeal in Japan.</span><span face="Roboto, sans-serif" style="background-color: white; color: #4d5156; font-size: 10.5pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: left; vertical-align: baseline; white-space: pre-wrap;"> </span></span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: left; vertical-align: baseline; white-space: pre-wrap;">His most highly-regarded and commercially successful release also happened to be his most fully-realized. </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: left; vertical-align: baseline; white-space: pre-wrap;">A Long Vacation</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-align: left; vertical-align: baseline; white-space: pre-wrap;"> lives up to its hype as a Japanese masterwork and I consider it one of the best conceptual albums ever released. The album’s opening song “You Are a Natural Color/Kimiwa Tennenshoku” is even used as a departure song on the East Japan Railway (JR East). By connecting the Brill Building to City Pop with his own Wall of Sound, he suddenly became a Japanese hit maker in the process.
</span></p><div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif46zmNl7zih8oyuhQRImDp1w4jv0FBu00KDFxHj5VZ1UXWi7srBT_rkT9iYUJfApeiy453azmM-Gou2CAflCHeotavX8e6T9VQbTryI0SOWa3GUOod62WWr7c-8EMTirU7lVTNUeit_ilZiAvJ2FnL7m3VU2tgw303txqDdA9PtmB_1hGK_o/s449/O%20live.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="288" data-original-width="449" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif46zmNl7zih8oyuhQRImDp1w4jv0FBu00KDFxHj5VZ1UXWi7srBT_rkT9iYUJfApeiy453azmM-Gou2CAflCHeotavX8e6T9VQbTryI0SOWa3GUOod62WWr7c-8EMTirU7lVTNUeit_ilZiAvJ2FnL7m3VU2tgw303txqDdA9PtmB_1hGK_o/w470-h301/O%20live.jpg" width="470" /></a></div></div><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-weight: 700;">NIAGARA CONCERT '83 LIVE JAM 1983/7/24 Seibu Lions Stadium
</span>At the time of this concert, Ohtaki was riding the momentum of </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A Long Vacation</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (1981) and preparing for his subsequent successful 1984 follow-up </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Each Time. </span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In this period between his two most popular releases, he also recorded two albums consisting entirely of orchestrated renditions of his compositions under the name the Niagara Fall Of Sound Orchestral. While these instrumental albums,</span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> Niagara Song Book</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> & </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Niagara Song Book 2</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, are good as airplane boarding music, they are not great because their overall production comes across as a little too clinical, which is generally not typical of Ohtaki’s studio recordings. Things are rectified in the live setting as this album features both the Niagara Fall Of Sound Orchestral and Eiichi Ohtaki himself. Both musical acts were accompanied by the <a href="https://en.wikipedia.org/wiki/New_Japan_Philharmonic" target="_blank">New Japan Philharmonic Orchestra</a> for the concert. The live version of the Niagara Fall of Sound Orchestral transverses somewhere in the vicinity of the Hollyridge Strings, <a href="https://www.discogs.com/master/1103894-The-Surf-Symphony-Song-Of-Summer" target="_blank">the Surf Symphony</a>, the Beach Boys’ </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Stack-o-Tracks</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> & </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Smile Sessions</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> and</span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> Song Cycle</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> by Van Dyke Parks. “Water Color” in particular sounds like the </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Pet Sounds </span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">instrumental “Let’s Go Away for Awhile” converging with some soft-focus lounge pop found on a ‘60s film score.
</span></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/aEHLdJz1yPw" title="YouTube video player" width="560"></iframe><div style="text-align: justify;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/n08Z2bkea2Y" title="YouTube video player" width="560"></iframe>
The cheerful “Like a Blue Sky” presents a lovely and sweeping melody perhaps inspired by “Puff the Magic Dragon” and “Navy Blue” by Diane Renay. “In the Canary Islands” seemingly foreshadows Van Dyke Parks & Brian Wilson’s </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Orange Crate Art </span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">collaboration from 1995. These instrumental songs come across as alive and dimensional as the stellar recording captures the music moving through the open air of <a href="https://en.wikipedia.org/wiki/Belluna_Dome" target="_blank">Seibu Lions Stadium</a> on a joyous July night almost 40 years ago.
</span></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/L0oh5z8fK2k" title="YouTube video player" width="560"></iframe><div style="text-align: justify;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Ohtaki then steps to the forefront to offer “Detective Story” from </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A Long Vacation</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> which could be described as the Zombies’ “Leave Me Be” meets “Hurt So Bad” by Little Anthony and the Imperials suffused with Bacharachian inflections. “Just A Little Gentle'' channels “Cara Mia” by Jay and the Americans, while revealing Ohtaki’s knowledge that Brian Wilson based “Surfer Girl” on “When You Wish Upon a Star.” Another song from </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A Long Vacation</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, “Karen in Love” more than hints at “Where Have You Been All My Life” written by Barry Mann and Cynthia Weil and recorded by Arthur Alexander and the Searchers. Next, “Funx4” starts off new wavey before becoming just playfully fun. The abundant and sweeping Spectorian melodies of “You Are a Natural Color/Kimiwa Tennenshoku” cascade down from the musical heavens as the concert reaches its pinnacle. Ohtaki’s signature number offers melodies that will keep swirling in your head for a week. As a consummate musician with excellent intonation, Ohtaki performs all of these songs with apparent ease on what would be his final live performance. The Niagara Fall of Sound Orchestral returns to properly close the musical evening on a lush note that was fortunately recorded for posterity. </span></p><div style="text-align: justify;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="font-size: 11pt; white-space: pre-wrap;">Ohtaki’s small musical <a href="https://www.sonymusic.co.jp/artist/EiichiOhtaki/" target="_blank">enterprise</a> has gone on to become an entire <a href="https://citypop.onvinyl.jp/" target="_blank">City Pop empire</a> in Japan. By integrating some of the best aspects of Eastern and Western music, he settled on a sound all his own which was integral in the eventual rise of the City Pop movement. This sound would go on to inspire the High Llamas’ Sean O’ Hagan, Shibuya-kei along with contemporary Japanese groups & producers operating along similar wavelengths. These highly influential sounds are still continuing to ascend and radiate both in Japan and around the world.
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</span></p><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCLx_iEolwVCSgz9fOWYlGExgMGlzoKvelxbfs5ep-dGZaD7k2v4cBdBRg30fXukZBRj75mFLDZLOvoR32z4beg7HdGDnV7zXOqu-GYhay5q6q4wNfspUjFgFMCaeJLdSE_002cvI70YQEzgcpU9vqIFpuk12_YHdL6smB9Oz-dnf32EWzwnY/s526/passing%20by%20monari%20wakita.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="302" data-original-width="526" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCLx_iEolwVCSgz9fOWYlGExgMGlzoKvelxbfs5ep-dGZaD7k2v4cBdBRg30fXukZBRj75mFLDZLOvoR32z4beg7HdGDnV7zXOqu-GYhay5q6q4wNfspUjFgFMCaeJLdSE_002cvI70YQEzgcpU9vqIFpuk12_YHdL6smB9Oz-dnf32EWzwnY/w524-h301/passing%20by%20monari%20wakita.jpg" width="524" /></a></span></div><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Photo from Monari Wakita's <i><a href="https://citypop.onvinyl.jp/item/hcr9697/" target="_blank">Passing By</a></i> single<br /></span></div><p></p></span>Tedhttp://www.blogger.com/profile/03401809173545102906noreply@blogger.com0