NICE TO HEAR AGAIN #3
Mercury Rev / Deserter's Songs
I've never been a huge fan of Mercury Rev, but they've always managed to intrigue me ever since I picked up a copy of 'Car Wash Hair'. I found that a marvellous stretch of the imagination! Subsequent releases I found rather hit-or-miss, but then 'Deserter's Songs' landed. I wasn't aware of the troubles leading up to the making of the album until later, but was immediately struck by the moodiness of the cover art - very unusual for the band. A lot was made at the time of the 'Americana' feel to the music, probably something to do with the much missed Levon Helm and Garth Hudson guesting, but I felt this was an opportunity for critics to finally pigeonhole this wayward sounding band. I think of the album as a reaching of maturity. The music still retained a hint of the adventurous, together with eerie vocals and oblique lyrics - '...when I see yr eyes arrive, they explode like two bugs on glass...' ('Goddess On A Hiway'), but the arrangements were now more 'contained', even orchestrated, possessing a sweeping cinematic quality. No surprise then, that an album-length film was made to accompany the album. Despite the hint of 'darkness' I initially felt surrounding the album, the more I've listened to it the more joyful it makes me feel. The progression of 'Endlessly' to 'I Collect Coins' to 'Opus 40' I still find uplifting. There's the sense of 'The Night They Drove Old Dixie Down' to the music of 'Opus 40' (Levon Helm drums on this) and it always leaves me in a better place afterwards. 'The Happy End' (The Drunk Room') instrumental echoes Kurt Weill's 'Alabama Song' and is another excuse for a celebration of sorts. Then of course there's the already mentioned 'Goddess On A Hiway' – majestic! Each time I hear 'Deserter's Songs' I always get the feeling that I should listen to it more often.
Shiva Burlesque / Mercury Blues
I probably mentioned Shiva Burlesque and the band's second album 'Mercury Blues' (1990) more times in the Heyday blog than The Stones or The Church, so now please forgive a second or third time for Recollection Box! Over three decades on from its original release it remains a special album. There's something about the imaginative lyrics of vocalist Jeffrey Clark, inventive guitar work of Grant-Lee Phillips, the Native American beats of drummer Joey Peters and emerging production skills of bassist Paul Kimble that helped the band shape these songs that makes for a heady brew! Mustn't forget the haunting cello contributions by Greg Adamson either - this isn't just another guitar based album. 'Mercury Blues' is a giant leap forward from the band's self-titled 1987 debut. The songwriting and production have had the rough edges smoothed, and the album just...flows...each song one after the other – high and low, fast and slow – it's a journey through the music and history of America - blues, folk, country, rock, even a little jazz. It's the sound of a band reaching their peak, but as the events after the album's release unfolded, one that wouldn't be able to hold itself together for much longer. In this respect I'd compare Shiva Burlesque to Love after completing 'Forever Changes'. I'm just glad they hung around together long enough to complete it! The title track is a sublime slice of American folklore with exquisite slide guitar playing from Phillips. Together with his own 'Cherry Orchard' it's a precursor to the sound of Grant Lee Buffalo, the band formed after Shiva Burlesque folded, minus Jeffrey Clark. Other stand out tracks include 'Do The Pony' (with its cheeky snatch of 'Land Of A Thousand Dances'), the humour of 'Chester The Chimp' and its wry observations, even now, of modern America. The plight of the American Indian is highlighted in 'Nez Perce' ('...if dreams are sacred, so are bones...') but special mention is due to the poignant, in light of recent world events, 'Peace'. After an extended cello intro with gentle vocals, the band, right on cue, arrives all together with a statement of intent. A few years ago I came across a video for the song on YouTube made by a fan featuring images that reflected the song's sentiments well. It's a fitting tribute to a much overlooked band and album, despite two reissues over the years. The latest (2021) with superb packaging on the wonderful Independent Project Records (also home for Jeffrey Clark's solo releases), features a second disc of demos entitled 'Skulduggery' and is the one to find for the bigger picture. Well worth it!
SOME OLD SONGS, ONE NEW, ONE BORROWED & A BLUES
It feels like we've finally reached the end of a very long Winter here. Here is a selection of songs that have helped me through...
The Moon / Faces
From the 1968 album 'Without Earth' by US studio based pop-psych outfit. A short song, about two minutes in length, but the quality of the songwriting here and its impact! Wow! The music of the chorus, at around 20 seconds in, simply lifts me every time despite the song actually dealing with the drudgery of the day to day. A hidden gem.
Dave McLean / Faintly Blowing
Kaleidoscope (UK) were a perfect hybrid of early Bee Gees with Syd's Floyd. First time I heard this song was in the 90s when the first 'grey' area discs of long forgotten 60s and 70s albums were appearing on CD and suddenly it felt like a whole world of 'new' music was opening up. It certainly kickstarted the reissue market, as lots of small labels began to emerge to finally provide some of the music the majors were holding back on. Both Kaleidoscope albums appeared on one disc on some unknown label around this time and were a revelation to me. Another rousing chorus on this one. After hearing Dave's version recently, I went back and played the Kaleidoscope version. I found it meandering in comparison and much preferred what Dave has made of the song. A superb and fuller production. Wonderful!
Oranger / Sorry Paul
This track takes its cue from Paul McCartney, which becomes obvious when listening. Every trick in Macca's book of songwriting is accounted for here, count 'em, but hey at least they apologise! It's always good to listen to Oranger and I'd rate them alongside Jellyfish for perfect power pop. They had some interesting ideas, great titles, but sadly slipped through the cracks. Thankfully not before I got to see them at Dingwalls after the 'Quiet Vibration Land' album (2000) was released and from which 'Sorry Paul' comes. An excellent gig and superb merchandise too - I bought an Oranger shirt with a print of the Hindu deity Ganesh on it. I wish I still had it!
Cleaners From Venus / Illya Kuryakin Looked At Me
Martin Newell - poet, songwriter and...gardener. The master of prolific homemade pop and a certified genius in my book. This is another perfect pop creation – 60s Swinging London revisited with a guided tour of Soho before the recent redevelopments buried it all. Sigh.
Anton Barbeau / Dogstar
One of the best songs I've heard in a while. All low-hung guitar riffing and swagger! After the depressing news broadcasts I've sat through recently this song takes on a whole new meaning. It's been a joy to crank up the volume to this and lose myself in a little wild abandon. I felt so much better afterwards!
Game Theory / Like A Girl Jesus
Scott Miller was an interesting songwriter and sadly missed. With Game Theory he made what I consider to be 'mathematical' music – with lots of chords and concepts, but the results were often quite amazing. My first Game Theory album was 1985s 'Real Nighttime'. I bought the album knowing nothing of the band, but noticed that there was a 'cover' of Alex Chilton's 'You Can't Have Me' on it. At the time I was listening to Big Star a lot, so I figured this band might be worth a listen! I admit the music took me a while to get into, it seemed very complicated, but the lyrics were quite thought provoking and they kept me hanging in there. I'm glad I persevered. 'The Big Shot Chronicles' album arrived a year later and among a few more intricate songs to get acquainted with was the deceptive simplicity of 'Like A Girl Jesus'. It's an 'epic' delivered in just two and a half minutes, a love song in essence, beginning quite slowly with gentle electric guitar picking and vocals, gradually building with effects until the full band join in for the '...she's doing fine...' coda. After Game Theory, Scott formed The Loud Family and even made it over to the UK for a handful of gigs. I saw the band at Islington's Powerhaus venue and they played 'Like A Girl Jesus' near the end of the set, or it might have even been the encore – my memory fades. The feeling I got from the music and lyrics that night was overwhelming. It was a moving performance. Thank you Scott.
Bill Fay / I Will Remain Here
I was saddened recently to hear of Bill Fay's passing. The reissue of his first two albums on one CD by See For Miles coincided with the start up of Heyday. That was the first time I'd listened to his music and I spent quite a lot of time in those first few months listening to those albums, overcome by how meaningful the songwriting was. I felt that I could relate to the lyrics in some way, particularly those on the debut. It's hard to explain, but they spoke to me of a new way of looking at life. The second album 'Time Of The Last Persecution' seemed a little darker, there felt like there was a lot of soul searching and questioning going on in the lyrics, trying to come to terms with the world, religion, life - an answer to it all. It was the first music I'd heard that gave me something to think about. Thankfully, that reissue led to the rediscovery of Bill Fay, who had been away from the business for a few years, but not music. He was still writing and recording. On hearing the recent news I reached back to that first disc and listened again. I also returned to his final album, 2020s 'Countless Branches' being drawn once more to its intimacy and honesty. There was the sense of a man at peace with himself, hopeful and possessing great humility. I was struck by the lyrics of 'I Will Remain Here' - '...I will remain here, and search for the hidden truth, in the bird's nest, and all kinds of seeds, blown by the wind here, from all manner of countries...' Being content with your lot - sound advice from a good soul.
Beachwood Sparks / Ballad Of Never Rider – Silver Morning After
The debut album by Beachwood Sparks was another album released shortly after I started Heyday and always makes me think of sunshine. It was released in Spring 2000 and I caught them live a couple of times in London shortly afterwards. First time was in a basement in Camden supporting The Clientele, and the second headlining at the Garage in Highbury, maybe a year later. A lasting memory of this latter gig for me was Farmer Dave hobbling into the venue on crutches, but he soldiered on bravely, playing the entire gig not entirely looking comfortable. Not the first time I've witnessed a musician playing with an injury. I saw Jason Falkner playing with a broken arm. Obviously, he couldn't play guitar, but he managed one-handed pretty well on keyboards, throwing himself around like some mad Mozart! I digress, Beachwood Sparks - these two songs segue well together and I love the humour of the rider who 'never got to ride' merging with the sunshine and West Coast vibes of 'Silver Morning After' – I sense the legs of my trousers beginning to flare as I listen!
Mississippi Fred McDowell / Shake 'Em On Down
Finally, some mesmerizing bottleneck slide guitar playing. I love the emotion in the voice of Fred McDowell, but on this one I just kick back and allow myself to be carried away by the guitar work - right on time, and straight at ya! Try to keep your feet still during this. Sometimes a little blues can also make you happy!
..................Here's to the new season!
The Moon / Faces
From the 1968 album 'Without Earth' by US studio based pop-psych outfit. A short song, about two minutes in length, but the quality of the songwriting here and its impact! Wow! The music of the chorus, at around 20 seconds in, simply lifts me every time despite the song actually dealing with the drudgery of the day to day. A hidden gem.
Dave McLean / Faintly Blowing
Kaleidoscope (UK) were a perfect hybrid of early Bee Gees with Syd's Floyd. First time I heard this song was in the 90s when the first 'grey' area discs of long forgotten 60s and 70s albums were appearing on CD and suddenly it felt like a whole world of 'new' music was opening up. It certainly kickstarted the reissue market, as lots of small labels began to emerge to finally provide some of the music the majors were holding back on. Both Kaleidoscope albums appeared on one disc on some unknown label around this time and were a revelation to me. Another rousing chorus on this one. After hearing Dave's version recently, I went back and played the Kaleidoscope version. I found it meandering in comparison and much preferred what Dave has made of the song. A superb and fuller production. Wonderful!
Oranger / Sorry Paul
This track takes its cue from Paul McCartney, which becomes obvious when listening. Every trick in Macca's book of songwriting is accounted for here, count 'em, but hey at least they apologise! It's always good to listen to Oranger and I'd rate them alongside Jellyfish for perfect power pop. They had some interesting ideas, great titles, but sadly slipped through the cracks. Thankfully not before I got to see them at Dingwalls after the 'Quiet Vibration Land' album (2000) was released and from which 'Sorry Paul' comes. An excellent gig and superb merchandise too - I bought an Oranger shirt with a print of the Hindu deity Ganesh on it. I wish I still had it!
Cleaners From Venus / Illya Kuryakin Looked At Me
Martin Newell - poet, songwriter and...gardener. The master of prolific homemade pop and a certified genius in my book. This is another perfect pop creation – 60s Swinging London revisited with a guided tour of Soho before the recent redevelopments buried it all. Sigh.
Anton Barbeau / Dogstar
One of the best songs I've heard in a while. All low-hung guitar riffing and swagger! After the depressing news broadcasts I've sat through recently this song takes on a whole new meaning. It's been a joy to crank up the volume to this and lose myself in a little wild abandon. I felt so much better afterwards!
Game Theory / Like A Girl Jesus
Scott Miller was an interesting songwriter and sadly missed. With Game Theory he made what I consider to be 'mathematical' music – with lots of chords and concepts, but the results were often quite amazing. My first Game Theory album was 1985s 'Real Nighttime'. I bought the album knowing nothing of the band, but noticed that there was a 'cover' of Alex Chilton's 'You Can't Have Me' on it. At the time I was listening to Big Star a lot, so I figured this band might be worth a listen! I admit the music took me a while to get into, it seemed very complicated, but the lyrics were quite thought provoking and they kept me hanging in there. I'm glad I persevered. 'The Big Shot Chronicles' album arrived a year later and among a few more intricate songs to get acquainted with was the deceptive simplicity of 'Like A Girl Jesus'. It's an 'epic' delivered in just two and a half minutes, a love song in essence, beginning quite slowly with gentle electric guitar picking and vocals, gradually building with effects until the full band join in for the '...she's doing fine...' coda. After Game Theory, Scott formed The Loud Family and even made it over to the UK for a handful of gigs. I saw the band at Islington's Powerhaus venue and they played 'Like A Girl Jesus' near the end of the set, or it might have even been the encore – my memory fades. The feeling I got from the music and lyrics that night was overwhelming. It was a moving performance. Thank you Scott.
Bill Fay / I Will Remain Here
I was saddened recently to hear of Bill Fay's passing. The reissue of his first two albums on one CD by See For Miles coincided with the start up of Heyday. That was the first time I'd listened to his music and I spent quite a lot of time in those first few months listening to those albums, overcome by how meaningful the songwriting was. I felt that I could relate to the lyrics in some way, particularly those on the debut. It's hard to explain, but they spoke to me of a new way of looking at life. The second album 'Time Of The Last Persecution' seemed a little darker, there felt like there was a lot of soul searching and questioning going on in the lyrics, trying to come to terms with the world, religion, life - an answer to it all. It was the first music I'd heard that gave me something to think about. Thankfully, that reissue led to the rediscovery of Bill Fay, who had been away from the business for a few years, but not music. He was still writing and recording. On hearing the recent news I reached back to that first disc and listened again. I also returned to his final album, 2020s 'Countless Branches' being drawn once more to its intimacy and honesty. There was the sense of a man at peace with himself, hopeful and possessing great humility. I was struck by the lyrics of 'I Will Remain Here' - '...I will remain here, and search for the hidden truth, in the bird's nest, and all kinds of seeds, blown by the wind here, from all manner of countries...' Being content with your lot - sound advice from a good soul.
Beachwood Sparks / Ballad Of Never Rider – Silver Morning After
The debut album by Beachwood Sparks was another album released shortly after I started Heyday and always makes me think of sunshine. It was released in Spring 2000 and I caught them live a couple of times in London shortly afterwards. First time was in a basement in Camden supporting The Clientele, and the second headlining at the Garage in Highbury, maybe a year later. A lasting memory of this latter gig for me was Farmer Dave hobbling into the venue on crutches, but he soldiered on bravely, playing the entire gig not entirely looking comfortable. Not the first time I've witnessed a musician playing with an injury. I saw Jason Falkner playing with a broken arm. Obviously, he couldn't play guitar, but he managed one-handed pretty well on keyboards, throwing himself around like some mad Mozart! I digress, Beachwood Sparks - these two songs segue well together and I love the humour of the rider who 'never got to ride' merging with the sunshine and West Coast vibes of 'Silver Morning After' – I sense the legs of my trousers beginning to flare as I listen!
Mississippi Fred McDowell / Shake 'Em On Down
Finally, some mesmerizing bottleneck slide guitar playing. I love the emotion in the voice of Fred McDowell, but on this one I just kick back and allow myself to be carried away by the guitar work - right on time, and straight at ya! Try to keep your feet still during this. Sometimes a little blues can also make you happy!
..................Here's to the new season!