Online EP Review: Susanna Hoffs - From Me To You

Susanna Hoffs’ career-spanning fascination with 1960s pop just keeps getting stronger. The Bangles singer-guitarist and Matthew Sweet performed classics by bands like The Beatles, The Mamas And The Papas, and Love and on the first volume of their Under The Covers series. Hoffs drew inspiration from Burt Bacharach’s easy-going hit singles for her own compositions on the 2013 CD, Someday.

It’s back to the ‘60s for the digital EP, From Me To You, and once again Hoffs is keeping things on the lighter side. The Beatles’ “All I’ve Got To Do” was one of the well-chosen covers she performed on tour last year, and this recording of it, like the other two tracks on From Me To You, evokes the ambience of a small club. Her take on The Jaynetts’ “Sally Go ‘Round The Roses” grooves to Latin percussion and layered vocals, while The Zombies’ optimistic “This Will Be Our Year” has a marching beat and melodic guitar. 

Releasing online versions of her favorite 60s songs seems well-suited to Hoffs, and it would be fun to hear her cut loose on some more energetic fare, the way she and The Bangles rocked “Open My Eyes” by The Nazz on Sweetheart Of The Sun. And I’d love to hear the version of The Hollies’ “King Midas In Reverse” Hoffs reportedly performed on her last tour.

CD Review: The Hollies - Dear Eloise/King Midas In Reverse

Note: This review is based on the Sundazed CD edition, which includes bonus tracks that were not on the original U.S. version of Dear Eloise/King Midas In Reverse. Additionally, the British version of this album, which was titled Butterfly, had different tracks. Apologies for any confusion that might ensue.

The finale of a trio of pop masterpieces released by The Hollies from 1966 through 1967, Dear Eloise/King Midas In Reverse found the band in a particularly adventurous mood. There’s a running theme about escaping the frantic pace of everyday life to find peace and enlightenment, or to just have a giggle at all the “small-minded men with their small-minded wives.” Once again, there were some fully orchestrated tracks, this time arranged and directed by Johnny Scott, but there were also some straight-up pop songs.

“Dear Eloise” bridged the gap between The Hollies’ new experimental approach and the tried and true, by incorporating more complex lyrics and electronically altered vocals within a catchy pop arrangement. Graham Nash’s “King Midas In Reverse” wandered further afield, with a slightly disturbing sentiment (“I’ll break you and destroy you” ) and ambitious instrumentation. Its disappointing performance on the charts (particularly in America) would cause friction between Nash and his band mates. Interestingly, the current lineup of The Hollies still performs it in concert. Some of the other orchestrated tracks, such as “Away Away Away,” “Wishyouawish,” and “Pegasus,” were much more lighthearted.

Allan Clarke’s massive and brooding “Would You Believe” was a monument to unrequited love, and he would later scale it down on his solo release, Headroom. Nash’s picturesque “Butterfly,” which was the title track on the UK version, serves as The Hollies’ most delicate love song, outside of the rarity, “Wings.” The exotic “Maker, ” with its sitar and tablas, and the psychedelic “Elevated Observations” both preach reaching a higher consciousness. 

Within this context, the old-fashioned wisdom of “Do The Best You Can” seems kind of simple, although once again Tony Hicks’ banjo playing is entertaining. “Leave Me,” as previously mentioned in my review of the UK version of Evolution, found The Hollies successfully exploring garage rock, while “Step Inside” is an infectious invitation to a woman to drop by for tea and crumpets. And other things. The breezy “Post Card” sports some of Nash’s quickest rhymes as well as a fascination with exotic locales that would surface later on “Marrakesh Express” (originally intended for The  Hollies) and “Lady Of The Island” from Crosby Stills and Nash’s debut album. 

CD Review: Mordecai Smyth - Dial M For Mordecai

English musician and honorary Palatine, IL resident (my doing, actually), Mordecai Smyth, has once again emerged from his laboratory with a fun mixture up of original British Invasion rock and spooky imagery. A fascination with Alfred Hitchcock that manifested itself in “Mr. Hitchcock” on his debut, Sticky Tape And Rust, is evident once again on this new EP’s title and cover art. But there are no witches or killers on Dial M For Mordecai; just the odd sensation of losing oneself in an abyss.

    

On “Trapped,” a mid-tempo song built with guitars and keyboards, a bout of nasty weather turns into something more sinister. The peppier “Psychedelic Sarah” has a more pleasant vibe, but still conjures a mind-altering experience. The remaining three tracks offer more down-to-earth tales, such as “Dream On,” which depicts a lonely woman whose only escape from her dreadfully dull existence is to lose herself in daydreams. “In her life there is no change,” Smyth sings. “There’s nothing to enjoy.”

The opening guitar on “Dark Haired Douglas” evokes a mid-1960s Beatles hit before the song switches to a Kinks-like satire. The title character fancies himself an irresistible ladies man but meets his match when he’s snubbed by a gorgeous woman in a trendy rock club. A Beatles/Kinks mash-up occurs again when Smyth covers the Ray Davies-penned “See My Friends.” This new version has a more overtly psychedelic arrangement that drifts naturally into “Norwegian Wood.” 

That it works so well is further testament to Mordecai Smyth’s knowledge and affection for classic 1960s pop.

Slumgullion

The faces of Feathers. Photo from Feathers Facebook page.

Last New Year’s Eve, when I picked Your Clothes Will Wear Themselves by Magatha Trysty as the fourth best CD of 2012, it wasn’t just a case of hometown boosterism. I really was blown away by the Chicago-based band’s energy, imagination, and the way husband and wife Christopher David and Catherine Louise weave their vocals together. In a recent email, David seemed pretty sure Magatha Trysty’s upcoming new release will be better than Clothes.

Magatha Trysty will be headlining a roster of five acts tomorrow night at Ultra Lounge on Milwaukee Avenue. Jack Rabbit, The Middle City Sound, rap/rock band Hero Monster Zero, and hip hop duo 8090, are also on the bill. Admission is $7, the music starts at 9:00 PM. Here’s the official video for “Saturday Dress” from Your Clothes Will Wear Themselves.

Jokes4Miles, the charitable organization created by comedian-writer Len Austrevich, continues to explore ways to aid young people afflicted with cancer, as a legacy to Austrevich’s son Miles, who passed away after a lengthy battle with the disease last December. Filming for a documentary and promotional video is taking place tomorrow and Sunday at the new Jokes4Miles headquarters, and several volunteers, including actors, dressers, grips, and assistants, are needed. Further information is available online.

Pleased To Meet Me. According to a Doctor Who Facebook post, David Tennant, who portrayed the 10th generation Doctor, will be joining forces with current generation Doctor, Matt Smith, for the sci-fi show’s 50th Anniversary Special. Actress Billie Piper, who played Rose Tyler, is also slated to appear. The post received 67, 475 ‘Likes.’

It will be a double bill of melodic rock and roll when The Smithereens open for Tom Petty And The Heartbreakers during a series of concerts across the USA this summer. Chicago isn’t on the tour, but The Smithereens will be performing at the Wells Street Art Fair on June 8th.

Feathers, a synth band that creates hypnotic songs featuring Anastasia Dimou on lead vocals, are touring in support of their debut release, If All Now Here. They recently played SXSW, and are coming to Lincoln Hall, along with UK singer-keyboards player Little Boots, on May 8th. A video for “Soft” by Feathers can be viewed on the Fader music site. Little Boots has a new release, Nocturnes, due in May.

All In All, You Can Have Your Own Brick At The Hall. If you’ve ever dreamed of seeing your name on display amidst some of the biggest stars in rock history. The Rock And Roll Hall Of Fame has a deal for you. For $350, you can have your name, as part of a 4-line message, etched into a brick destined to be installed in the plaza in front of the museum. Less expensive versions are available for $300 and $195. The brick will also feature the Hall’s logo.

CD Review: The Hollies - Live Hits!

The Hollies have been around for 50 consecutive years, although drummer Bobby Elliott and lead guitarist-harmony vocalist Tony Hicks are the only original members left in the band. The current lineup has been together since 2004, when lead vocalist-guitarist Peter Howarth replaced the late/great Carl Wayne. Wayne had replaced Allan Clarke, a founding member, in 2000. Guitarist-vocalist Steve Lauri also joined around 2004, and while bassist-vocalist Ray Stiles and keyboards player Alan Parker may not be original members, they have been on board for several years. The Hollies still tour constantly in Europe, and all of those performances have made them a tightly knit, entertaining band.

Live Hits!, recorded during last year’s UK tour, was mixed and produced with no additional overdubs by Grammy Award winning producer, Paul Hicks, Tony’s son. It captures the exuberance of a Hollies concert, especially on songs like “I Can’t Let Go,” “Just One Look,” and “Stay.” There are also faithful, highly polished versions of “Bus Stop,” “Jennifer Eccles,” “He Aint Heavy, He's My Brother,” and a guitar-fortified “On A Carousel.”

Judging from this 2-CD set, The Hollies have an adventurous set list for their live shows, ranging from early songs like the gospel-influenced “Very Last Day” and Beatlesque “Yes I Will,” to the autobiographical title track from their 2010 CD, Then, Now, Always. There’s a heartfelt rendition of Bruce Springsteen’s “Sandy,” which The Hollies first covered on Another Night back in 1975, and the band touches on its most psychedelic era with Graham Nash’s ambitious “King Midas In Reverse.” A few choices are questionable; “The Day Curly Billy Shot Down Crazy Sam McGee” has always seemed like a poor imitation of “Long Cool Woman In A Black Dress” and any number of tracks would have been better than the silly folk standard “Stewball.”

Adding to the variety of material is The Hollies’willingness to reinvent some of their classic hits. Howarth’s acoustic rendition of “I Can’t Tell The Bottom From The Top” underscores the song’s soaring melody, and “Stop Stop Stop” is given a rousing instrumental intro. The original British Invasion gem “Look Through Any Window” gets a slower, harmony-filled arrangement ala Crosby, Stills and Nash, and Howarth engages the audience on a rowdy “Long Cool Woman In A Black Dress.”

Live Hits! gives us non-Europeans a good idea of what The Hollies are up to these days, but it’s high time some promoter found a way for them to tour in America again.  

CD Review: The Ellie Maybe Experence - Meet Ellie

Note: This review originally appeared in the March, 2009 edition of the Illinois Entertainer. That was the issue that featured the crowning achievement of my journalistic endeavors: An interview with Graham Nash. I also had an extended piece on The Bee Gees’ Odessa album, and Around Hear reviews of Hired Goons, a band that combines The Ramones with The Simpsons; and the hard-hitting trio, Bruiser.

The March 2009 cover story was a profile of Fleetwood Mac, written by Janine Schaults, who would later go on to become IE’s editor .

I had  mixed emotions about the Meet Ellie CD, but a year later, I would express more positive things about Ellie Maybe’s punk/pop band, The Maybenauts, and their high-speed and infectious Big Bang EP.

As introductions go, Meet Ellie is more of an extended middle finger than a handshake. The Ellie Maybe Experence (yes, it’s intentionally misspelled) revels in matching R-rated insults to a variety of arrangements. That singer-songwriter Ellie Maybe delivers even her raunchiest material in a sweet, folk-singer style voice is initially ironic, but the novelty doesn’t always pay off.

She does spin some clever scenarios, like the woman in “Rufus,” who likes her ex-boyfriend’s dog so much she sneaks biscuits under the guy’s door. On the catchy “I Thought I Could Love You,” she’s hot for a guy until she sees him performing with a third-rate rock group. By contrast, “Hacks Of The Heartland” is an overly bitter swipe at Midwestern copy bands. “Carcinogens” is a generic hard rock song about giving up smoking, but on “The Clap” and “Cum On Baby,” The Ellie Maybe Experence backs illicit desires with energetic melodies.

Scamgullion

Sadly, Eric Idle will not be taking part in the Famous In The Future tribute.

But he's sending his fridge to perform.

A mixed bag of entertainment news.

WXRT, which has a tradition of launching new formats or special features on April 1st, just kicked off an ambitious project. Starting at 9:00AM this morning and running through Memorial Day, Chicago’s fine rock station will play its entire music library in alphabetical order. Some songs will still get more air time than others, though. WXRT will be playing Mumford And Sons’ “Little Lion Man” for the entire month of May.

I’m pleasantly surprised (shocked, actually) that so many local and national comedy groups are taking part in the 25th Anniversary celebration of my former comedy group Famous In The Future’s first performance at the Abbie Hoffman Died For Our Sins theatre festival. Just as a number of modern recording artists recently recreated The Beatles’ Please Please Me album track by track, some VERY prominent folks on the comedic scene are doing the debut FIF revue, skit by skit. “A Famous In The Future tribute?  I’m so there!” a well known sketch/sitcom comedienne who demanded anonymity exclaimed. Technically, FIF’s first performance took place a few months earlier at The Roxy comedy club, but the Abbie Fest revue was chosen because the Mary-Arrchie Theatre-sponsored Abbie Hoffman Died For Our Sins is also marking its 25th Anniversary this year. I can’t wait to see which famous comedy group tackles my People’s Court parody.

This isn’t likely to go over well with the home schoolin’ crowd, but the people behind School House Rock are planning to create a sex education series. The pre-existing “Naughty Number Nine,” is being re-worked, and there are several ways to give “Three Is A Magic Number” an adult spin. People are being asked to send in suggestions for catchy new songs on this challenging subject. The sex education songs will be listed under the company’s Multiplication category.

Scamgullion is meant for satire alone, and very little of the above is true.