Mike Bennett Reviews, February, 2004

Scroll down for reviews of the latest releases by The Emergency, RockFour and The Afternoons

Jeff Kelly
For The Swan In The Hallway

(Hidden Agenda)

parasol.com

Maybe the name Jeff Kelly doesn't mean anything to you. Well, he's the front man for the perennial psych-pop institution Green Pajamas. Still leave you cold? He wrote "Kim the Waitress", which Material Issue covered and released as a single. And the Pajamas have a small but devoted cult of fans (some of who work at record labels, allowing the band to release his stuff). It's a cult worth joining.

This album would be a fair litmus test for whether someone would like Green Pajamas, since Kelly, on his seventh solo effort, is not making any radical departures. The distinctions between this solo disc and a proper Green Pajamas aren't readily discernible to the naked ear. Other than an instrumental choice here or there, there ain't much difference. This is because Jeff Kelly is extremely skilled at writing songs in the Jeff Kelly style.
This, of course, is a very good thing. Kelly has a certain way of crafting a melody and certain way of putting it across with his expressive voice. Kelly doesn't belt the words out so much as caress them and put them on display. He has a voice that is a fine vehicle for both epics of tortured unrequited love or low-key swoony romanticism.

Or maybe it's something in between. At least "Kissing Alma Mahler" leaves me with that impression. Kelly doesn't explain his obsession with her, but he makes the obsession extremely clear, singing: "all my life/I've waited for this minute/all my life/I've waited and I'm swimming in it." Indeed, he sings "I don't care if she's a mother/I don't care if she's a wife/and I don't care if she's unstable/all I want is her sitting at our table." Crazy in love or just crazy? The melody here is amply sized (and in spots, reminds me of Bread -- go figure), yet the tune is played at just the right scale. Rarely have the comforts of madness been set to music so comfortable.

Kelly makes a foray into somewhat straight ahead rock and roll territory on "The Depth of My Desire". This song has a chugging pulse and neat psych-rock lead guitar lines. The quaver in Kelly's voice and vibe of the music give the track a slinky sensuality. Unlike "Alma Mahler", it sounds here like the desire is mutual. The desire resonates from the past on "Stutter". This is another sexy little number. From the stinging guitar lines to insinuating bass guitar, this song is pure lust. Well articulated pure lust, at that.

The finale is the unique "Night at the Opera". The low key verses are playful -- heck, they're a step away from Tommy James territory. Underpinning it is more psychedelic guitar work that allows the verses to flow into the ascending chorus. The song manages to weave in a sense of fun, while having a sweet majesty. And the song appears to actually be about a night at the opera. Who'da thunk?

Maybe the biggest difference between this solo disc and the last few Green Pajamas releases is there's a certain extra intimacy. Again, that just may be due to this batch of songs, and not whose playing them. In the end, this is a case where a superficial analysis is sufficient. This is another fine set of mellow psych-pop from a great songwriting talent who every fan of the genre should get to know.

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The Emergency
How Can You Move?

(You Guys On A Label?)

theemergency.net

This is quite an album. Tight melodic rock songs that have elements of power pop, emo and the harder edge of ‘90s Brit pop, topped off with a piss-and-vinegar attitude that adds an old school punk feel. Even when bashing out a mid-tempo tune, there's scads of intensity and passion. They are incapable of being smooth, but the jagged edges are balanced by the strong hooks and tight playing.

So songs come off with a tough-singer-being-sensitive feel. Take the opening of "Under the Weather": "This is a song for you, baby/what do you think/full of the hidden meaning/that you seem to like/baby, I'm on to you/lately I got a clue." OK, maybe not that sensitive. Lead singer Rob Wehrle captivates, both with his raspy, slightly Anglophile vocals and his great guitar sound -- it has shades of both the late James Honeyman-Scott and a young Paul Weller. Meanwhile, the rhythm section is tight and unobtrusive, letting the conflicted protagonist (rightfully) take center stage.
A further tie to a punkier tradition is the cod-reggae song. Meaning a song that has a rhythm that is reggae inspired, without being reggae. Joe Jackson did this well (remember "Sunday Papers"). Here, The Emergency dials up "All Over Town". The backbeat is still 4/4, but the choppy guitar and the fluid bass are reggaefied. The song has a slight melody that is stretched as far as it can go and contributes to the cloudy downcast vibe of the song. Not only does Aaron Crothers play a great bass line, he also contributes some terrific backing vocals. The band even incorporates a dub-like breakdown, with found noises and some great tremolo effects on the guitar.

Power pop fans should appreciate quite a few tunes on this disc. For example, "Stop Sign" has chiming guitars in the verses, Wehrle again getting a great tone out of his instrument. Here, it puts things in Off Broadway/Cheap Trick territory. The arrangement is clever, with a nifty stop-start break down (this is a song called "Stop Sign", after all) that supports a chorus that has a nice early Beatles (a la "You Won't See Me") vibe. There's also a nice drum break by Kevin Post.

"Morning Announcements" is even better. While Werhle isn't a traditional power pop singer, and his voice is better for coveying angst and anger, this is a really happy song. Musically, it sounds like they found a mid-point between Superdrag, Tommy James and the early Clash. There's even a handclap interlude, leading into a great guitar solo. Contrast that with the catchy and utterly snotty "Wedding March", which is bitterly funny: "‘cos everybody knows you're never gonna make it/but we'll drink up the tab/the groom is over there/face down in the snack bar/but we're going to drink up all of your tab." Why couldn't you have been this honest before the ceremony?

There is a tie for that all-important favorite song on the disc. "Matt Won't Come Back" starts off gently, just Wehrle and his acoustic guitar. On this song, The Emergency don't go the basic verse/chorus/verse route, instead slowly building up atmosphere and even adding some sort of electronic organ/keyboard noise. This is a song of reminiscence with just the right musical feel and an appropriate lead vocal. It's not the band's bread and butter. Yet it's a total knock out. Still, "The Cool Police" is right up there with it. This is terrific look at high school, with a swaying feel. Here, the band taps a bit into a vein similar to Ultimate Fakebook in a contemplative moment, with incisive observational lyrics. Again, this isn't a hook fest. But this band is so adept at penning a pop song, they can afford to try some other things and do it well.

In fact, their homework assignment for album number two is to just continue to grow. The biggest knock on this disc is that it could use a little bit more variety. They basically have a few types of songs, and just vary them a little. Which, when you're new, fresh and talented, works fine. This is a good one. And The Emergency is capable of even better things.

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RockFour
Nationwide

(Rainbow Quartz)

parasol.com

For its third English language release, this Israeli psychedelic juggernaut traveled to Detroit and worked with producer Jim Diamond. I presumed that this would result in a rawer recording, as Diamond is best known for his work with many of the leading lights of the Detroit garage rock scene, including The White Stripes. This made sense, since RockFour happens to be one of the most explosive live bands in the world.

My presumption was off by a mile. Diamond's production is precise as can be. In the end, I don't think his role was artistic, so much as just putting these songs in the best light. Which he did. Even when I listen to this on my P.C., the clarity of the disc and stereo separation allows all of the colors of RockFour's songs to shine brilliantly.

While the band does attempt a few new things, for the most part, RockFour stays the course. They still have some of the most dazzling harmony vocals in the business, taking inspiration from The Bee Gees, with a more haunting aspect. Instrumentally, they are second to none. Marc Lazare is a muscular bass player, who can Entwhistle as well as he can McCartney. Likewise, drummer Issar Tennebaum can play as forcefully and thrillingly as any skin pounder, yet he is capable of great subtlety and feel. Singer Eli Lulai is passionate and engaged at all times.

The star of the show, however, is Baruch Ben Izhak, a guitar hero if there every was one. Ben Izhak is outlandishly talented, a virtual encyclopedia of guitar sounds. Not since Rick Nielsen has there been a guitarist with such a facility for so many hallmarks of ‘60s rock guitar. Like Nielsen, all of this know how is grounded in a supreme appreciation for the song. Ben Izhak has flash, yet he never overwhelms the song -- he maximizes it.

RockFour is so tied to psychedelia, that it's no surprise that Ben Izhak has that sound down cold. Yet there is so much more here. On "You Said", Ben Izhak unleashes some heavy quasi-Tony Iommi fuzz, along with a burning guitar solo and some delicate jangle. This song is an ominous and attractive mix of heavy music -- in fact, it is one of the heaviest RockFour tracks ever -- contrasted by the beautiful, mournful harmony vocals. This song would make a fine, more rocking companion to Simon and Garfunkel's "Hazy Shade of Winter".

The band moves forward into the ‘80s (though it's hard to imagine them in parachute pants with feathered hair, particularly the chrome-domed Lulai) on the album's first two tracks. "Honey" finds the band paying homage to The Cars and other bands of that ilk. Oh oh, it's magic, I suppose. The song throbs along, before finally hitting a more typical RockFour chorus. Indeed, the new wavey elements are really just decoration. They serve to make RockFour a bit poppier. To the band's credit, this does not diminish their power. If anything, the sudden burst of the chorus and Ben Izhak's apeshit solo actually stand out in further relief from the smiley face groove.

The next song is the title cut, which seems to reverse the approach. The song starts off in true RockFour fashion, and then the new wave/Cars elements bubble up, including some nifty Elliot Easton-style lead parts from Ben Izhak. This song also has one of the strongest choruses on the record, which actually highlights one of the band's few weaknesses. RockFour's lyrics tend to be obscure (or maybe opaque). Since their music is so colorful, this often isn't a major problem. However, sometimes it's hard to fully grab on to the songs. No matter how attractive the music is, the songs often lack lyrical phrases that can lock the listener in. This is not a problem on "Nationwide", however.

Lyrics are beside the point on "Candlelight". It's not that the words are meaningless. It's just that the song is so simple and pretty -- a real showcase for the band's vocals. Both Ben Izhak and Lazare play with exceeding delicacy. The bridge, where Lulai sings alone, accompanied by Ben Izhak, who plays a spacey lead that Les Paul would have appreciated, is stunning. The album closer "Much More to Offer" is another spacious number that edges into shoegazer and desert rock, while retaining a bit of a Pink Floyd feel.

There are plenty of other great cuts, like the latter day Beatlesque "Moving Fast" and the intent "Mad Routine", a song that would have fit well on either of the past two albums. In all, this is the best RockFour album yet, as it has a great balance of moods and stylistic touches. It results in a terrific flow. I just wish that their music was just a little more direct lyrically. Not necessarily on every song, but I think that if they could make a bit more of a connection between the words and the dramatic music and passionate performances, things would crystallize into an incredible experience. Even with that, they are one of the best rock bands around.

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The Afternoons
My Lost City

(Dockrad)

dockrad.com

This is simply a splendid disc. This quintet, led by Richard Griffiths, has crafted 15 tunes that come from the softer side of the British pop tradition. Maybe you could call this pastoral soul, as this record ebbs and flows, establishing a consistent sensibility while offering a variety of tones, styles and textures. Moreover, the songs are concise and focused, making this the rare CD that does not drift towards the end, even though it has a lot of songs.

First and foremost, Griffiths establishes himself as a master of the romantic rock ballad. I don't mean a Journey-esque power ballad. I mean the tender (and sometimes heartbreaking) love song. On "Does She Look the Same", The Afternoons manage to wax a song that is heavily tinged with a Burt Bacharach feel, without sounding like they are just rewriting a Burt Bacharach song. Indeed, the song manages to fuse a sophisticated melody with the band's normal blue-eyed soul modus operandi. And the lyrics are both what you'd expect (a fellow who can't let go trying to find out about his ex), yet they are smart and observant in a delightfully unexpected way. Like this line that I just love: "Does she smile the same/lopsided and far away?"

On two songs, pedal steel guitarist John Thomas adds an extra layer of weepiness. Taking this wonderful instrument that is so distinctly associated with country music and integrating it into The Afternoons's decidedly non-country sound is inspired. "Sad Instead" is the waltz of a man who is reading the writing on the wall: "No bud will flower in winter/no love can rise from the dead/I can make you happy/so happy/but it looks like I make you/sad instead." Damn, Griffiths and drummer Peter Morgan have co-written a song that doesn't just hit a nerve, it penetrates it and makes it radiate the pain. The pedal steel also appears on "Bee-stung", which could easily be morphed into a country song, if someone one was up to the task. Between the pedal steel, Paul Rapi tinkling the ivories and Andy Walters's violin, this tune is feather-soft, all the better to cushion the ache.

While there are only a few up-tempo songs on the disc (and no wonder, they are so good at the mid-tempo and slow stuff), they are uniformly fine. The best is the explosive "For a Fool". The song lays down a groove that is part-Motown and part Style Council. When the song hits the chorus, it rockets off into an intense lift, Griffiths singing near the top of his range, trying to let this girl know that he's the one for her. Morgan's drumming is perfect, and Rapi adds some oddball moog sounds. The song is classic and the performance unique.

But the sentiments are consistent. Griffiths has keen insight into two phases of the game of love: the stage where everything goes to shit and the early stage, when a suitor is full of bravado. This bravado comes through not only on the aforementioned "For a Fool", but also on the short and sharp "Gonna Make You Happen." You can almost see the poor sap with flowers in one hand, a box of candy in the other, already trying to figure out if they'll have two kids or three.

The more I listen to the disc, the more impressed I am. It takes many bands a few albums to get to the point where The Afternoons are at now. And that's making a mature fully realized pop album, with depth and sophistication.

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