(All new stuff today. I’ve been in the mood!!!) I had feared Shack dead and gone since it’s been three years since their last LP and I hadn’t heard much about them, but Liverpool’s veteran brothers, MICHAEL HEAD and JOHN HEAD and Co. are back with another fine melodic pop album—only their second in seven years—released on NOEL GALLAGHER of OASIS’s label. Each of their last few albums has befit a group that once served as the backing band for one of ARTHUR LEE’s U.K. LOVE’s tours, and whose 18-year career actually stretches much further back, to their older band PALE FOUNTAINS. I.E., one revels in their lithe harmonies, involved, ringing guitars, and BYRDS-esque songwriting knack.
Make that two straight lovely acoustic folkpop albums in a row for Frame, the former Scottish boy wonder from the prized Postcard Records days who, after some early brilliant work, made a few too many bland white soul-pop records in the later ‘80s. Once again, this finds him tapped into what he did (does) best; just letting his moving voice and the unadorned sound of his acoustic (and some light backing this time) carry the tunes/day.
Speaking of folkpop, while I prefer his previous solo album, the gut-wrenching piano-pop masterpiece released under the name AMERICAN LESION almost a decade ago, the BAD RELIGION punk rock star singer’s second outting is another totally worthy one. This one is all old ‘20s/’30s style folk, five originals, and tellingly, six covers of traditional folk tunes such as “Omie Wise.” It’s a totally old-style recording, too, recorded more or less live in the studio on tape by his Bad Religion producer/bandmate BRETT GUREWITZ, with backing help from THE WEAKERTHANS (who Graffin is currently on tour with), and the record greatly benefits from that spontaneous approach.
Though their previous singles are better, and we’re really waiting to see what the debut LP will be like, this British group are still one of the best out there mining the old early ‘80s post-punk stripped down pop sound, in the Girls at Our Best, Modettes, and Postcard Records/Fire Engines tradition, with the emphasis on frank talk about relationship miscontents: beds that are merely slept in. The b-side “Fulwood Babylon” may be the better of the two tracks here (plus a video), by the way, so if you can find this cheap you might want to make the splash.
I’m still mourning the demise of the great New Zealand popsters THE MUTTONBIRDS, but some of the sting has been taken off by the fine work by one of the ex-members ALAN GREGG as MARSHMALLOW and now, at long last, this first ever solo LP by the band’s ex-leader and industry vet. Right off the bat there’s a couple of great pop tunes that will remind you of his best former work (like “While You Sleep”) such as “This is London” and “Toy Factory Fire,” which as ever feature his lovely voice and knack for the little things in his observations.
All new stuff? OK I lied, one old song to break up the parade of new, and what a song!!! All I like in surf music is in this old hit, the standard DICK DALE-like echo guitar wave in particular, a muscular tune, and, in the Chantays case, some eerie keyboard work carrying the day next to the guitars. Even if THE VENTURES and JOHNNY THUNDERS and others hadn’t turned in such memorable versions later, this would still be a true landmark, for you just can’t ever get tired of hearing it. There’s a few other good songs on the LP as well, like “The Lonesome Road,” but it’s the title track you want however you want to get it, on a surf collection or what have you.
Such a beautiful debut solo LP by THE POSIES veteran, I just keep playing and playing and playing this! Really lovely stuff, not at all like his band, much as I love them too. This is what solo LPs are for!
After waiting out a short rain delay that actually improved the weather tenfold (from dreadfully hot and sticky to cool and comfy!), these great Scots once again showed the remarkable transformation that has taken them over these last two LPs. Remember when STUART MURDOCH and friends once seemed so mysterious and insular, circa The Supper Club shows nine years ago? Now he dances around the stage and kids with audience members like a Catskills pro, producing laughs and goodwill to go with some of the best-written, best-rendered (with a string quartet in tow), best-arranged, and best-sung (three part harmonies and all) music in all of live concert creation. You never want to miss these people when they play near you—all the more so a beautiful day outdoor show in the late afternoon. Wonderful!
Third time through, these Canucks still sound like the North’s answer to New Zealand’s Chills, only homocentric, and neither is a bad thing. With the lovely violin trills of “Death of a Tune,” they’re maturing as they evolve quite slowly, and in short order you fall for their considerable musical charms. I hear they’re often funny to watch, live, too.
Though they’re not as powerful live yet as their two fine EPs (especially the second one), this still-new band from Austin showed an enthusiasm and an unpretentiousness that will undoubtedly serve them well when they are more able to project and dominate a stage in front of 5000-6000 people as they found themselves at the Bandshell, opening for TV ON THE RADIO and MATT POND PA. They seemed a little more comfortable in front of their more accustomed smaller crowd playing as the Macy’s fireworks exploded and filled the sky behind them July 4 evening (how’s that for a backdrop?), but in this instance, were slightly undermined by a slightly substandard “good enough for a party” merely adequate P.A. As they’ve just signed to a Beggars subsidiary, expect constant touring to toughen/tighten them up to the level of their superb studio work, and we’ll say we remembered them when…
