Category Archives: Acoustic

00's, 70's, 80's, 90's, Acoustic, Cleveland, Indie, Music, New Release, Punk, Review, Solo, Vinyl

7-Inch Reviews: Jonathan Richman – “O Sun” & “Keith”

5 April, 2015 Brian Mc 1 Comment

Sometimes a review is tough to start. I find myself sitting here trying to think of how I am going to select the right words to create an introduction to the musician or band that I would like to share with the world.

I find this blog entry particularly a little more difficult to start out with not only because I am a huge fan of the musician of the EPs I am about to talk about, but I am equally a huge fan of the label that has put them out.

Blue Arrow Records is not only a brick and mortar staple in Cleveland thanks to their amazing selection of vinyl, music memorabilia, and other vintage goodies, but they are now a record label.

Makes complete sense to me.

I have been a fan of Blue Arrow since they first set up shop in 2009 and think the world of owners Pete and Debbie. Not only do they run one of my favorite stores in my neck of the woods, but they are also quality humans. I am lucky to know them and was floored when they told me they were going to start their own record label and first on the roster was none other than Jonathan Richman.

I adore all things Richman. Chances are if you are reading this, you might too. If you do not, I highly encourage you to check out anything Modern Lovers or just jump into Richman’s solo material. His style is unforgettable and almost always is in the most upbeat approach. Richman always has seemed to put me in a good mood.

This month, Blue Arrow Records is releasing two 7-inch singles by Jonathan Richman including four songs: “O Sun”, Wait Wait”, “Keith” and “They Showed Me the Door to Bohemia”. These are the first releases by Richman in five years.

I need to pause for a second and let you all know that I have been holding off on reviewing these 7-inches until I could literally just down and spin them endlessly next to me. With luck on my side this past Friday, I was able to set up a listening station of sorts by my desktop with the full intention of listening to these releases and reviewing them.

Moving along…

The 7-inches are both beautifully pressed with “Keith”/”They Showed me the Road to Bohemia” in white (33rpm) and “O Sun”/”Wait Wait” in turquoise with light hints of red (45rpm).

“Keith” paid tribute to the one and only Keith Richards. I loved the line Richman said regarding Keith’s style was “not exactly the blues cause it’s sorta European too.” “The Showed me the Road to Bohemia” was a spoken word jam by Richman that was relaxed yet joyless. Richmond can’t always be a ray of sunshine folks. He is human after all.

“O Sun” carried a more vintage beachfront island sound that I really was not expecting but completely loved. It was nothing too technical and quite repetitive, but mysterious like something you would hear in an old school James Bond movie soundtrack. “Wait Wait” really reminded me of the young Richman post-Modern Lovers I had adored for so many years. Plenty of clapping and good times were thrown in this jam with thanks to Juanramon Jimenez, a poet who Richman claimed “helped me express a feeling.”

I know I tend to tell everyone what I like and honestly, that is the whole premise of this little blog I have been holding onto for a while. If can find just one person out there who has not heard of Richman yet and they turn into a fan, then my job is done. I do this because I want to and there is no other reason.

Both 7-inches only have me excited even more for the full length that Blue Arrow Records aims to release this fall. Until then, you can stop in the shop and pick up both copies or click on the album covers below to place your order today at Blue Arrow Records ($10 each + shipping):

I find my posting of this appropriate with the statement that Pete released about Blue Arrow Records and their involvement with Record Store Day. If you have not read it yet, please do. It is a highly well-written discussion about his somber decision to not partake in perhaps the most popular retail event for independently owned record stores.

My thoughts about RSD are not as strong as they once were and I blame the greedy (the labels and the flippers). Where I love to see people standing in line to buy limited pressed releases, I feel it has gone too far and has turned into just another way for big business to make their money as well as shady flippers who throw them up on eBay and make a killing (sometimes even before RSD).

There are too many releases to even count this year and honestly, there were only maybe two that I might have raised an eyebrow about. What I am trying to get at was that I wasn’t excited about this year’s RSD offerings. Hopefully not everyone agrees with me and still will be lining up at their favorite local shop next week.

There may not be new pressings coming out that I give a crap about, but there are stores like Blue Arrow Records with tons of old and previously loved releases that I will happily flip through with hopes of finding a gem.

Don’t dismiss RSD. Remember it is about records, not just the new re-re-re-repressings on an 138 gram glitter-gold pressing with hologram download cards. Go out and support your local record store and find something that you can call your own.

Acoustic, Music, Music News, New Release, Pop, Punk, Review, Rock

Album Review: Success – Radio Recovery

19 March, 2015 Brian Mc Leave a comment

Seattle’s Success does not suck. I repeat, Seattle’s Success does not suck.

In fact, this band has completely won me over almost instantaneously and I am still trying to figure out how the hell they snuck under my radar for so long.

Success are a hybrid of 90s SoCal pop punk and current DIY punk rock. I have no clue how they met or how many albums they have put out or any of the typical default bio stuff. I am sure I could find out, but right now I am focused on telling everyone how I am feeling. Deal.

I do know they covered a Spin Doctors song that I found while stalking them online the other night and I’ll be happy to post it at the bottom of this post as a reward for making it through my review.

It’s seriously being a while since I’ve gotten sucked into an album so quickly. Radio Recovery, dropping March 24th on Red Scare Records, did that in just about 30 minutes. I can not tell you how many times I have listened to this album over and over since the release was thrown my way (thanks Toby!).

“Believe In” opened strong with a pop-punk jam full of sing-alongable qualities. This track was produced well and impressed the hell out of me. I loved the bass playing and the guitar solos, but it was the dual singing style that did it for me. It reminded me of everything I loved about late-90s punk rock music.

“Revolution Schmevolution” continued to keep my attention with this powerhouse of a sing-along. I especially got a kick out of the lyrics, “what’s the problem with this world today is that every Batman thinks he’s a Bruce Wayne.”

Another track that caught my attention was “Lives That We Deserve”. Perhaps it was the piano playing that hid behind everything or just the fact that it was a quality tune. This track was motivational in a sense with the working man’s life being sung upon. This easily was one of my favorite tracks on the album.

“Flowers” was one of the tracks that that had a huge effect on me. It was not too personal by any means, but it was just real. This song was like the polite and caring Rancid that no one ever had the chance to meet. In fact, I would allow Success to steal my sediment and made a cartoon video of clean-cut versions of Tim and Lars picking bouquets of flowers for their special sweethearts. Beyond my puke of creativity, this song was incredible and perhaps did not sound anything like Rancid.

The acoustic “Impossible Truth” was a nice chance but was move Revival Tour material and did not necessarily go with the rest of the album. The organ playing was great throughout and I was really reminded of Frank Turner due to the style.

Closing the album up was “Resignation”, a harmonic punk rock track that pretty much solidifies why I love punk rock music so much. This track just built up so well and just exploded. Perfect way to end a great album.

If you like catchy punk rock jams, this band is for you. Success have won me over and Radio Recovery has earned a well-deserved spot in my Best Of 2015 list.

Hands down, this album rules and while produced well, it still is nothing too clean sounding and has plenty of reasons for multiple listens.

If only more newer bands could sound like Success. Then we could say stupid things like these guys sound like the sweet, sweet sounds of Success.

OK I’m done.

Enjoy.

<a href="http://laescalerarecords.bandcamp.com/album/life-on-the-rocks">Life On The Rocks by Success</a>

90's, Acoustic, Alt Rock, Indie, Kent, Music, New Release, Review

Album Review: Seth Avett & Jessica Lea Mayfield – Seth Avett & Jessica Lea Mayfield Sing Elliott Smith

12 March, 2015 Brian Mc Leave a comment

What can be said about Elliott Smith that most people have not said already? You either loved him or did not care for him.

Smith left his legacy suddenly years back in the worst way possible and his music has remained for the world to sulk upon when in need.

In 2003, Smith ended his life after suffering from depression for years. I have no words for his choice on how he bowed out to the world nor will I even go into detail.

The 90s punk me was introduced to Smith’s self-titled album by some of my indie-loving friends years before “Needle In The Hay” was heard in The Royal Tenenbaums. I’ll be honest and tell you that I never appreciated him until after his passing. I remember liking what I heard, but apparently was too much in love with the SoCal punk scene.

The twenty-something-year-old-me back then was not impacted as much as present day me would have been. I hate to admit it, but at the time I was not deprived of Smith’s talent when I learned of his passing. Twelve years later, I have a different way of looking at his loss.

Next week, Seth Avett of The Avett Brothers and Kent, Ohio’s sweetheart Jessica Lea Mayfield will be dropping Seth Avett & Jessica Lea Mayfield Sing Elliott Smith, a covers album full of, you guessed it, Elliott Smith songs.

The album, dropping on Ramseur Records, is not a reinvention of Smith’s work, but more of an appreciation for someone they both were fans of.

Produced by Avett and recorded over the last three years at Echo Mountain Studios in Asheville, NC as well as at Avett’s and Mayfield’s homes, the album features renditions of twelve Elliott Smith songs.

It was almost haunting to hear Mayfield start out “Between The Bars”. This version sent chills throughout my body. I loved how Avett joined Mayfield but did not dominate the song.

I really enjoyed the piano playing that built up throughout “Baby Britain” and feel Avett nailed it when trying to recreate. It started off slower with acoustic playing but soon jumped into a more upbeat cover. It kills me that this was a more popular song of Smith’s and was all about his addiction, but it really is a great song. (Side note: I enjoyed this cover way more than Bayside’s 2008 version)

“Ballad Of Big Nothing” was just as depressing as the original on Smith’s Either/Or. Not that i was expecting anything different, but the impact that Mayfield’s voice with Avett provided a different dismal angle.

I would have loved to have heard Avett take lead on their version of “Roman Candle”. The distorted guitars were awesome but I really wanted to hear a more close to the original version of the signing to this amazing track. I was rather underwhelmed on this.

The original version of “Memory Lane” always reminded me of something the Beatles might have done. Hearing Avett slow it down a bit with a stings section made me think of the Beatles even more. This was a great version of the original.

The collaboration of Avett and Mayfield only made sense seeing how they have been pals for years now. For them to cover Elliott Smith songs was nothing next to brilliant. The best part is how they chose what material to cover and how they each took turns taking the lead. They reached all over Smith’s catalog including some hits and more obscure tracks.

This is the part where I encourage those who never cared for Smith to take a listen and hear his brilliance in a different dynamic. Love him or hate him, Smith was an incredible songwriter. This covers album proved that so well.

The album drops on March 17th and you can preorder it now by heading over to The Avett Brothers merch site.

If you’re lucky, you can even catch them live throughout March:
March
10   McGlohon Theatre, Charlotte, NC
11   The Birchmere, Alexandria, VA
12   Town Hall Theatre, New York, NY
14   Keswick Theatre, Glenside, PA (Philadelphia)
17   James K. Polk Theatre/TPAC, Nashville, TN
18   Southern Theatre, Columbus, OH
20   Athenaeum Theatre, Chicago, IL
22   Fitzgerald Theatre, St. Paul, MN
24   Boulder Theatre, Boulder, CO
26   Neptune Theatre, Seattle, WA
27   Crystal Ballroom, Portland, OR
29   Palace of Fine Arts, San Francisco, CA
31   Wilshire Ebell Theatre, Los Angeles, CA

Side note: This powerful scene with Richie in The Royal Tenenbaums is beyond horrifying even more so when you think about what happened just a couple years later… I am glad Avett and Mayfield did not cover this track.

Acoustic, Electronic, Folk, Indie, Music, New Release, Pop, Review, Rock

Album Review: Bombadil – Hold On

28 February, 2015 Brian Mc Leave a comment

I was told Bombadil, who hail from Durham, NC, were a pop-folk act that I needed to listen to.

Seeing they hail from the same state as a certain Brothers band that I adore enough to tattoo their cover art on me, I figured why the heck not.

I cannot say I’d heard of Bombadil prior to checking them out, but after doing a little research, I learned that they have been around since 2005 and caught the attention of Ramseur Records thanks to their MySpace page. Next month, the band is dropping their fifth full length album on titled Hold On.

I was not sure about “Coughing on the F Train” when I first listened to it. The song reminded me of an 80s track mixed with a storyline Beck might have created in the 90s. Overall, it was catchy, but just slower in some areas. One song in and I already started to wonder if this band had any folk in them (Note: Their older material has a much heavier folk appeal to it from what I have listened to after writing this up).

“Amy’s Friend” cleared my question up immediately. This track was a gentle duet that clearly has swooning abilities with great harmonies throughout.

I enjoyed “Bill You For Your Trash”, especially the guitar solo towards the end. I could not help but think of Simon & Garfunkel in a sense while listening to this track.

“I Can’t Believe in Myself and Love You Too” made me just want to crawl in a hole with a bottle of something strong. What a sad track. I can not say I dug the backing vocals though, it was almost too much.

“Framboise” was one of my favorite tracks on the album. It was almost like listening to something from the 60s. I loved the mix of French and English singing on this track. I secretly wish this song would have morphed into a “Bohemian Rhapsody” of sorts. The explosion at the end I was waiting for, never happened though. Still, very creative track.

“Love You Too Much” carried one hell of a Motown feel. Robinson’s vocal range on this track was impressive to say the least. I have the feeling this track is ten times better live.

I laughed to myself when I saw the title “Rhapsody in Black and White” given my previous thought regarding Queen. I was not too sure about this track. It was almost too weird. I understood the premise, but was this serious or satire? Also, can I just comment how much Robinson sounds like Pete Townshend? I can not tell you how long it took me to find the perfect comparison, but while listening to this song, it finally struck me.

“Honest” should have been called “Brutally Honest”. If this was not a personal confession of revalation, then Robinson has one creative ass thought process. This track easily could have been a Brand New track. I am not sure how many of you will even understand what I just stated, so allow me to clarify: This track was super heavy on the emo, even with the random electronic breakdown towards the end. This was an amazing, powerful song that I was not expecting.

“Love Is Simply” closed out the album with a very well put together composure. There was so much going on in this track. I candidly thought of Flight of the Concords, but only due to the singing styles. This track was pro-love, at least I think it is. The burning bag comment kind of threw me off.

Bombadil has their own unique approach to pop-folk with a more subtle sound that in turn is quite comforting and catchy at times. I really think their genre is a lot broader than they get credit for.

Plenty of people are going to get into this band with Hold On as it almost caters to everyone. With plenty of creativity in creating their own style, I can admit that I am now a fan.

Acoustic, Folk, Music, New Release, Punk, Review, Watch This

Album Review: Tim Barry – Lost & Rootless

11 December, 2014 Brian Mc 2 Comments

It’s no lie, Tim Barry just dropped one of my favorite albums of 2014.

After hearing it just one time through, I had no choice but to make an immediate edit to my best of 2014 post. I was blown away.

Lost & Rootless, Barry’s fifth studio release as a solo artist, is the best thing I’ve heard from him to date.

The Richmond, VA folk crooner is one of the most talented music writers I consider myself a fan of and he just further proved that to me with his latest effort. To say he is on top of his game is a complete understatement.

Barry, on his website, said the sound to his latest release could be described as “Wooden.” He stated “that’s the feel that I was going for when I picked the songs. There’s violin, voice, a wooden resonator guitar…there’s a very subtle electric bass on one track, but otherwise I wanted to do a wooden record.”

“Wooden” is the perfect description when you think about it.

Hiding out in a backyard shed with his sister and pal Josh Small, Barry recorded Lost & Rootless with no time frame and no worries at all. The result is a tireless release that I have listened to over and over and found myself enjoying more so than the last listen.

One thing I adore about Barry is his storytelling abilities. In Lost & Rootless, Barry doesn’t hold back with his tales that do not necessary have a theme to them but certainly reach back to other stores of past albums. There is no concept to be heard and to be honest, I think Barry and crew just recorded whatever was on their mind.

Starting the album off was “No News From North”. This was actually taken from Barry’s Laurel Street Demos, but re-recorded just as he has done with other selections. I loved the rendition of this song from its original. It sounded so much more homely and emotional.

“Poppa’s Porch” had me thinking of Barry on his front porch with his wife and kids singing to them on a weekend morning. This song told a story about the neighborhood that surrounds said porch full of fisticuffs and shenanigans. This was overall such a friendly track to listen to. It was like Cheers, but different.

“All My Friends” painted such a beautiful picture of who Barry surrounds himself with. This was a very old-timey sounding story about people who took to the streets for entertainment and communication.

I can honestly say I know exactly what “Breathe Slow Let ‘Em Pass” was all about. My rebel youth recalled those days when the law passed me by and I turned into stone until they were far away only to release a tightly held in breath. This track was amazing based on the idea of it.

The cover of “Clay Pigeons” by the late and great Blaze Foley was just amazing to listen to. Having just learned about the Austin musician myself, I can understand why Barry chose to record his own version of the song.

The somber story told in “Solid Gone” reflected hard times with family and finances and the outlawed methods to make things manageable resulting in further calamity. I can not say I have heard a song quite like this before and found myself captivated throughout it. This is one track I think everyone needs to check out on this album.

“Lela Days” was clearly written for Barry’s daughter. I have the feeling she loves it when he sings this song to her. It is a fun folky jam with real life expectations hidden within.

I can not tell you the number of times that I thought to myself how much I enjoy Tim Barry’s music. This is coming from a aging punk rocker who has matured just a bit but still has a lot of growing up to do. It’s nice to see that I still get excited about things.

By now, it shouldn’t matter that Tim Barry once was in Avail. Even though his former punk act will always be one of my favorites, it is perfectly clear why Barry has moved on and started something he can call his own.

It’s no wonder he has no plans of ever getting Avail back together, his new direction just makes so much sense and does not seem to be going off track. He has been going strong for 10 years and I hope to hell he has no intention of slowing down.