CD Review: Tame Impala - Lonerism

Note: This review originally ran in the Illinois Entertainer.  

The music on Tame Impala’s second full-length release, Lonerism, sounds like it’s being beamed to Earth from another galaxy. The Australian group serves up a lush though unlikely blend of indie and prog rock that’s nearly irresistible. Kevin Par Coeur (or Parker, depending on which website you believe) plays guitar, bass, and drums, but it’s his multi-tracked vocals that give Tame Impala an ethereal elegance. Or, as the band’s Facebook page puts it, epiphany pop.

On “Mind Mischief,” Tame Impala adds gorgeous Beatles-inspired vocals over a space age soundscape, while the equally dreamy “Apocalypse Dreams” has a Motown backbeat. “Elephant,” a pulsating Pink Floyd/T-Rex romp is easily Lonerism’s most fun track. “Keep On Lying” and “Sun’s Coming Up” are intriguing songs that are eventually undone by too much studio gimmickry, and the disjointed opener, “Be Above It,” with its generic synth blasts, doesn’t fully convey the magic that follows.

Tame Impala will be playing The Vic in Chicago on March 6th, 2013.

CD Review: Ken Stringfellow - Danzig In The Moonlight

Note: This review originally appeared in the Illinois Entertainer. 

Ken Stringfellow has covered a lot of ground since co-founding The Posies with Jon Auer in the late 1980s. In addition to his ongoing stint in that band, the singer-guitarist has worked with Big Star and R.E.M., as well as being the only Yank in the Norway-based garage rock band, The Disciplines. Somehow, he finds time for solo releases, with Danzig In The Moonlight being his fourth. It’s a subtle yet adventurous effort that has the feel of a concept album.

That’s particularly true when he combines a trio of melodic snippets Abbey Road style on ”4AM Birds/The End Of All Light/The Last Radio,” or adds a theatrical flourish to “Drop Your Pride.” Stringfellow also glides through the old school R&B of  “Pray,” and crafts an off-kilter Country & Western duet with Charity Rose Thielen from The Head & The Heart on “Doesn’t It Remind You Of Something.” Almost two dozen musicians were recruited from around the world for the ambitious Danzig In The Moonlight, but Stringfellow also taps into his Posies roots with the melodic pop of “Even The Forgers Were Left Fingering The Fakes.”   

Slumgullion

First, a hearty welcome to Pete Townshend and Roger Daltry as they bring their classic rock opera, Quadrophenia, to the Allstate Arena tonight. Mr. Townshend was signing copies of his book, Who I Am, at the Barnes & Noble in Old Orchard Mall this past Monday night. Unfortunately, I wasn’t able to make it, but I know of a few Facebook friends who were understandably thrilled to meet the legendary guitarist/songwriter.

Tickets go on sale tomorrow for Tame Impala’s March 6th show at The Vic. My review of the Aussie band’s second effort, Lonerism, ran in the November issue of the Illinois Entertainer. I praised the songs as a lush though unlikely blend of indie and prog rock and noted that they sounded like they were being beamed to Earth from another galaxy. But in a good way. 

As The dB’s continue to tour in support of their critically acclaimed Falling Off The Sky CD, band member Chris Stamey is set to release a new solo effort. Lovesick Blues, which the singer-guitarist describes in a press release as “The closest I’ve ever gotten to the sound I hear in my head in the middle of the night,” is due out on Yep Roc Records February 5th. 

The Old Town School Of Folk Music has some performances coming up next week that highlight this long-running venue’s mission to present the entire spectrum of popular music. On Thursday night, Cherish The Ladies will celebrate a Celtic Christmas with traditional Irish songs. The five-woman band often brings along a few step dancers to augment their reels and gigs, while founding member/whistle and flute player Joannie Madden keeps the audience entertained between songs with her witty anecdotes and quips. Saturday night brings Over The Rhine, the Cincinnati-based band led by husband and wife Karin Bergquist and Linford Detweiller. Both sing and play various instruments on a beguiling mix of alt rock, folk, and country. On Sunday afternoon, adults as well as kids can enjoy Milly’s Holiday Spectacular, put on by by Brigid “Milly” Murphy, the untamed performer best known for her series of Milly’s Orchid Shows in Chicago nightclubs. She’s promising a more family-friendly agenda this time out, but here’s betting she won’t skimp on the wacky.

Black Ensemble Theater’s popular and probably best known production, The Other Cinderella, is back for the holidays. Now in its 36th year, this urban twist on the fairy tale runs at Black Ensemble’s new space at 4450 N. Clark Street in Chicago through January 13th.

The Handcuffs, who are accustomed to hearing their fetching indie music used on TV shows, will have their “Ooh Baby Baby” on tonight’s episode of Jersey Shore. It’s a track from the band’s Waiting For The Robot CD. Now that I've mentioned Jersey Shore, maybe I'll get thousands of hits on Broken Hearted Toy.

Interstate Arts, a group dedicated to making art and creativity part of everyday life, is staging Small Change Theater Episode 1: The Woods at Popps Packing in Hamtramck, MI in four shows next Friday and Saturday evening. The hour-long tale of various animals searching for love will feature life-size masks and puppetry, plus musical guests Diane Christiansen and Steve Dawson from the band Dolly Varden, and instrumentalist Colby Maddix. There’s suggested $8.00 donation, $3 for age 10 and younger.

James Moeller and Carla Hayden, founders of the Black Forest Theater group and Whitewolfsonicprincess alt rock band, are sponsoring their annual Toys For Tots Show at the Red Line Tap on Chicago’s northside next Saturday, December 8th. Some of the artists involved include The Telepaths, Tina Teske And Quarter Casey, The Red Apples, The Rut, and Whitewolfsonicprincess.

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CD Review: Okay Paddy - The Cactus Has A Point

Here’s a review that ran in the April, 2006 issue of the Illinois Entertainer. Although it’s credited to my name, I have no recollection of ever listening to it. It’s possible that could happen since I’ve written tons of reviews for the publication since 1987, but this is from only six years ago, and apparently, I liked the band. 

In researching Okay Paddy on the Internet, I came across another positive review of The Cactus Has A Point, on the Willfully Obscure blogsite, posted on May 18th, 2012. Willfully Obscure apparently focuses on lesser known power pop and indie rock releases, and seems to be a pretty cool site.

So anyway, here’s my take on the CD. If by some chance, I didn’t really write this, and it was actually an error on the part of the Illinois Entertainer, feel free to let me know. On the other hand, if two separate blog posts about Okay Paddy spark renewed interest in the band and bring about a revived career, Willfully Obscure and Broken Hearted Toy will deserve the credit.

Irresistible melodies and an affable lead singer keep the featherweight songs on The Cactus Has A Point from being inconsequential. “Your Bat’s On Fire” is a rough-edge start, but from there, songwriters Pat Finnerty and Mike Quinn settle into Pet Sounds mode. The band subverts its classic pop approach with adventurous instrumentation, and some tracks restart and take off in a different direction just when it seems they’ve ended. 

The romantic “Oo-Man, la World” presents Okay Paddy doing an impressive Beach Boys impersonation. Other catchy gems include “Time For A Tailor,” a whimsical poke at modern fashion, and “Fraktur,” which features shimmering guitars and lush harmonies. The psychedelic “Lighter Later” drifts by like a dream, and “Furrier” gets an engaging homespun arrangement. The guitar-driven “Where’s The Taste?” proves Okay Paddy us quite capable of rocking a little harder.

CD Review: JIP - Sparks Flames And Names

Singer-guitarist Jim Gwynn, the driving force behind JIP, came up with an interesting way to follow the Chicago-based trio’s promising debut, Year X. The newly released EP, Sparks Flames And Names, features a different guest performer on each of the seven tracks. At the risk of obscuring the band’s identity at this early stage, the concept casts a spotlight on Gwynn’s songwriting ability.

Most of the songs are acoustic-based explorations of the various stages of a romantic relationship. In addition to convincingly conveying the exhilaration and heartache of discovering and losing love, respectively, Gwynn gives each song an inviting melody. All of his guests turn in strong performances; joining in on lead vocals, and on occasion, playing instruments.

“Our City By The Lake,” one of the more upbeat songs on Sparks, immediately grabs the listener while Gwynn and Nickolas Blazina craft strong harmony vocals. Rachel McClusky provides compelling vocals on the percussion-driven “Little Light,” while Buick Audra plays guitar and drums, along with creating layered vocals with Gwynn on “Swimming.” The designated single, “Shudder,” is the hardest hitting track, as Gwynn and Joanna Stanielun from the band Halfmoon Mad, portray lovers in an increasingly alienating relationship.

He’s Never Too Heavy

Photo of Bobby Elliott (left) and Tony Hicks from The Hollies website.

A while back, while listening to Breakfast With The Beatles on WXRT in Chicago, I heard host Terri Hemmert mention that Paul McCartney was involved with a new Christmas recording. One of the benefits of listening to this weekly show, in addition to hearing a variety of Beatles-related music, is that Hemmert is a good source of info on upcoming books and CDs. So as a Hollies fan, I was doubly pleased when I recently heard her say that McCartney is one of many artists involved in a new “He Ain't Heavy, He’s My Brother” charity single.

  

Recording under the name, The Justice Collective, McCartney, Robbie Williams, Glenn Tilbrook from Squeeze, Gerry Marsden from Gerry And The Pacemakers, Shane McGowan from The Pogues, Mick Jones from The Clash, John Power from Cast, Dave McCabe from The Zutons, Chris Sharrock from Oasis, Holly Johnson from Frankie Goes To Hollywood, and a number of other well-known performers are recreating the hauntingly beautiful Hollies hit in order to help families of victims of The Hillsborough Disaster. In 1989, several Liverpool soccer fans were killed while attending a Football Association Cup Semi-Final match with Nottingham Forest at the Hillsborough Stadium in Sheffield. The artists will be backed by the Liverpool Philharmonic Orchestra.

Articles in The Telegraph and The Liverpool Echo don’t mention whether any members of The Hollies are involved in the The Justice Collective version. On the official Hollies website, drummer Bobby Elliott posted a short piece describing how he and guitarist Tony Hicks traveled to London to visit the Metropolis Studios to take part in the project. Elliott and Hicks are the only original members left in The Hollies, who still tour extensively throughout Europe.

“Dylan, the brother of producer Guy Chambers, was on hand to lead us into the control room,” Elliott wrote, and added that, “The atmosphere was relaxed and friendly.”Although Elliott was disappointed that he didn’t get to play drums on the song, he concluded, “It was a good day, as long as TH and I don’t end up on the cutting room floor!”

If The Justice Collective’s version of “He Ain't Heavy, He’s My Brother” is the huge Christmas hit the press is predicting it to be, it will mark the third time this song has shot up the UK charts. It struck gold when originally released in 1969, and went to Number 1 in 1988 after being featured in a Miller Lite TV commercial. The song was also embraced by New York firefighters dealing with the aftermath of the 9-11 attack in 2001.

“He Ain't Heavy, He’s My Brother” was written by Bobby Scott and Bob Russell, based on the motto of Father Flanagan’s Boy Town. Its message of self-sacrifice and always being willing to help others still resonates decades after it was originally written.

The Justice Collective’s version is due out on December 17th.

CD Review: Garrison Starr - The Sound Of You And Me

This review originally appeared in the April, 2006 edition of the Illinois Entertiner, which featured Tom Lanham’s cover story on Artic Monkeys. Editor Steve Forstneger sat down with UK singer-songwriter Beth Orton for an interview, and he also profiled Ben Harper. On the club scene, Violent Femmes were at the Cubby Bear in Wrigleyviille; Cracker was at Durty Nellie’s in Palatine; and Heartsfield was at FitzGerald’s in Berwyn. 

Garrison Starr has excelled at putting some rock in her roots on past releases, but she takes a lighter approach with The Sound Of You And Me. The country twang and fetching melodies are still there, but this CD presents Starr in a more intimate setting. Most of the 11 songs deal with troubled relationships, as she conveys heartache though her throaty vocals.

On the acoustic ballad, “Pendulum,” she sings, “And you’re a brick wall/Now baby, tell me did I break through at all?” “We Were Just Boys And Girls,” a raw attempt to show Starr at her most vulnerable, feels calculated, especially when compared to the simple beauty of “Black And White.” “Beautiful In Los Angeles” sports The Sound Of You And Me’s most commercial arrangement, but it’s the catchy “Let Me In” that’s most likely to please Starr’s loyal fans.