Mike Bennett Reviews: April, 2001, Part II

Scroll down for Chamber Strings, Orange Peels, New Pornographers and Shoes tribute. Click here for The Orgone Box, Spanic Boys and The Supers

Linus Of Hollywood
Let Yourself Be Happy

(Oglio/Franklin Castle)

www.franklincastle.net

Release Date: March 20, 2001

Linus Of Hollywood accomplished a hell of a whole lot with his 1999 debut disc, Your Favorite Record: 1) leaving his Size 14 punk-pop past way behind; 2) reviving interest in the work of soft-pop cult favorite Margo Guryan; and, 3) creating a work that combined the baroque pop leanings of 60's artists like Guryan and The Left Banke with a sweet early 70's vibe akin to Gilbert O'Sullivan, Emmit Rhodes and Harry Nilsson. Linus forges further down this path on the lighthearted Let Yourself Be Happy. The increased sophistication of the production and arrangements are an unexpected gift, as Linus already excels in those areas. However, the overall sunniness of the tunes sometimes crosses the border into outright cutesiness that undermines a few songs.

This is particularly in evidence on "Thank You For Making Me Feel…Better". A pithy ode to alcohol, the friend that's always there for you, the instrumentation consists of blowing into bottles (presumably synthesized), pouring liquid, rattling bottle caps, and Nick Lowe's favorite sound, breaking glass. Clever? Sure. Irritating and distracting? You bet!

Linus also goes a bit too far on his cover of The Smoking Popes' pop-punk classic "Need You Around". The song is recast in full lounge mode, and the arrangement proves the strength of the Josh Caterer melody. But was it really necessary to perform the final verse in a spoken word fashion? That might have worked on old doo-wop tunes, but Linus's speaking voice is not sufficiently authoritative to pull this off.

The cover of Ozzy Osbourne's "Goodbye To Romance" (from Blizzard Of Oz) is far more effective. Starting as a plaintive piano piece, Linus perks up the tempo in the second verse, giving the song a bounce that Ozzy and Randy Rhoads could never have contemplated in their worst nightmares. Linus's metalworthy guitar solo is the cherry on top.

Most of the other tracks also meet the high standard set on the debut. "Every Day I Fall In Love Again" has a rhythm track that sounds like a reggae song gone awry and a chorus that is a cousin of Paul McCartney's "Another Day". Nilsson and Seals and Crofts might be reference points for the smooth "I've Lost In My Mind", but the triumph is in the oddball middle eight, which uses an offbeat synthesizer sequence to throw in a little dissonance. "To Be A Girl" is a beautiful, heartfelt acoustic number with Linus's best lyrics -- it's a real pop archetype.

Linus's debut was clearly not a fluke. But sometimes he turns on too much charm, so one's appreciation of this album may be relative to the size of one's pop sweet tooth.

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The Chamber Strings
Month Of Sundays

(Bobsled Records)

www.bobsledrecords.com

Kevin Junior's Chamber Strings seemingly came out of nowhere in 1998. Here in his Chicago homebase, Junior was best known for: a) being almost as skinny as the late Jim Ellison (Material Issue); b) his Ron Wood with bedhead hairstyle; and, c) fronting the oft reviled (and quite unfairly knocked, in my opinion) combos Rosehips and The Mystery Girls. Indeed, a recent piece on The Strings in a local paper referred to The Mystery Girls as "execrable." But the N.Y. Dolls/Faces/Stones jones of Junior's prior bands was evident on the first Strings LP, which combined a slight bluesy rock foundation with Junior's soft Lennon-inspired vocals and melodies that brought to mind Lennon, The Zombies and some of the forefathers of soft pop.

On this disc, Junior teams with top-notch lead guitarist Tim Fowler, bassist Jason Walker (formerly of Chicago's underrated Lava Sutra), and the most significant addition to The Strings, Carolyn Engelmann. Junior credits Engelmann for helping him to solidify the band's direction. And that direction is even lusher and softer, which is immediately apparent on the album opening title track. The instrumental starts with Englemann's solo piano, soon joined by Fowler's gentle guitar and then actual string accompaniment. This tune is like spring in Chicago - sunny, but tinged by melancholy, a celebration of the most fleeting time of year in the Windy City.

So the disc sounds great - what about the songs? Well, they are generally fine, and everything sounds fine when it's playing, but there are no killer hooks on par with the debut's "Every Day Is Christmas". Nice numbers like "Last Lovers" and "It's No Wonder" don't reach maximum impact. This may be partially due to Junior's soft vocals, which are suited to the mellow tone, but his inability to turn it up to 11, the way a Colin Blunstone could do, for example, may keep some songs smoldering when they should catch fire. This is particularly true on "The Road Below". A great string arrangement and splendid backing vocals lead to a chorus that….needs to soar or go into a big middle eight, but just kind of trails off.

This is no problem on "Let Me Live My Own Life", with its fiery guitar and a melodic chorus that plays well off the insistent repeating riff in the verses. Moreover, Junior's vocals mix resignation and anger in a cool fashion that contrasts well with intensity of the playing. The other top track, "Make It Through The Summer", co-written with Wilco's John Stiratt is a nice mid-tempo piece - call it Lennonade.

Although not all of the songs hit the bullseye, The Chamber Strings clearly have the potential to make a classic. Soft pop aficionados, stay tuned.

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The Orange Peels
So Far

(SpinArt)

www.spinartrecords.com

Release date: February 3, 2001

Alan Clapp and his crew have surpassed their excellent debut record. There is less of the flat out giddiness of Square, but this is more than made up for by the abundance of memorable melodies. Moreover, the record exhibits a maturity that one doesn't always associate with music this airy and light. This isn't just a collection of pretty melodies - the songs have a strong emotional pull.

The basic Orange Peels game plan is a heavy layer of sunny 60's California pop, with dollops of sublime chord changes that heavyweights like Jimmy Webb and Burt Bacharach would have been proud to have written, and a corresponding bright sound, which often features a shimmering guitar sound that was heard on so many fine British indie pop records (such as The Smiths and their progeny) and an array of keyboards. It would be easy to overlook the contributions of a drummer in a softer pop outfit, but John Moremen, Bob Vickers, Clapp and Larry Winther take turns behind the traps, and they all do a great job. The drumming is both creative and skillful, and gives each song just the right lift. Clapp will not be winning any voice-of-the-year awards, but his voice is deceptively rangy that balances ordinary guyness with skillful phrasing and tone.

Clapp does an outstanding job of crafting melodies that portray the underlying emotions of the lyrics. On "You're So Clever", the chorus that opens the tune is bright and yearning, meshing with Clapp telling his leaving lover how great she is. The chorus ends with a bittersweet keyboard coda, segueing into the decidedly sadder verses, in which Clapp rues her departure. A whole mix of feelings in a spiffy pop package.

"Mystery Lawn" is another key track. The hook is built on a relatively chunky guitar riff, which contrasts with the melancholy twangy guitar in the verses, as Clapp reminisces about the girl whom he had a crush on in school who is now with him "sitting here in the grass in the sun." This song is so economical, you actually earn money while listening to it.

Or check out "Lost In You/I Can See The Planets". Opening with a haunting melody, Clapp's voice betrays a slight tremor. Within two lines, the melody quickly ascends, as does Clapp's voice in a declaration. Having so quickly changed the mood of the tune, the Peels then head for the soaring chorus. Tunes like this are definitive proof that innovation in rock does not always mean breaking them, but bending them into new shapes.

I could easily rhapsodize about the other 8 tracks, but I hope by now you get the point. So Far is one of the essential purchases for any pop connoisseur in 2001.

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The New Pornographers
Mass Romantic

(Mint Can.)

www.mintrecs.com

If this record don't move you, then just head to the funeral home and lay in a casket - you ain't alive anyway. This is an adrenalin rush of a pop record from a collective of Canadian musicians known for their work with other bands, such as Lifter and The Smugglers. The band is led by former Zumpano guitarist/singer Carl Newman and features a not-so-secret weapon in the form of alt-country diva Neko Case, who sings lead on three tunes, and adds backing vox on some tracks.

This record just explodes from the speakers, with a good portion of the kudos falling upon the shoulders of bassist John Collins and David Carswell (of The Smugglers), who were the primary producers. The guitars and keyboards on the record are trebly and keyed up, creating a sugary wall of sound. With all of the stuff going on in the high end of the mix, top notch drumming is needed to provide sufficient muscle and powerhouse Kurt Dahle takes care of that department and then some (credit is also due to Fisher Rose, who manned the traps on four songs).

And this infectious sound serves some spectacular songwriting, primarily by Newman, though Dan Behar contributes some tunes, too. Other reviewers are bandying about Big Star and Cheap Trick comparisons - apparently these critics don't like to delve too much into their book of comparisons, because there is almost no trace of the former here, and except for the good-timey energy and power, not much of the latter.

I hear a strong new wave vibe, but contemporized somewhat. The Pixies and Spoon, two catchy alt-rock bands who owe a debt The Cars, might be a good starting point, but with the alt-rock balls being replaced by a smiley faced ballsiness. Then throw in some more spunk and silliness - mid-70's and early-80's Sparks and early Elvis Costello come to mind. Finally, ample doses of 60's-inspired melodies (and if you know Newman's work in Zumpano, some of the songs betray his membership in that great soft-pop band) - there are some Beach Boys and Zombies-type things here, but the melodies are run through the New Pornographers' particle accelerator.

Some songs are primers on how to make straightforward catchy pop that rocks. "Letter From An Occupant" boasts creative drumming, a gurgling synth rhythm track, and Neko Case just singing her guts out on a tune bursting with monolithic hooks. "Mass Romantic" has a sing-songy verse (and Case shining again) leading to a soaring chorus. The bouncy Madness feel to "The Slow Descent Into Alcoholism" betrays the subject, but you'll still be singing along. And "To Wild Homes" is just pretty baroque 60's pop.

Quirky pop fans won't be disappointed by stuff like "Jackie", a Costello-meets-They Might Be Giants tune with an odd philosophy ("so visualize success/but don't believe it") and the cheesy lurching psychedelic "Execution Day". And if you don't buy my Pixies/Spoon comparison, listen to "Mystery Hours", which builds to a frenzied Newman vocal (much rougher than his Zumpano work) or the jagged "The Mary Martin Show".

This is currently my favorite record of the century. 'Nuff said.

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Various Artists
Shoe Fetish (a tribute to Shoes)

(Parasol)

www.parasol.com

I remember the raves back in the late 70's. Ira Robbins in Trouser Press. Robert Christgau's Consumer Guide (reprinted in Creem, of course). A Zion, Illinois band that recorded an allegedly great LP in their living room! I had to get it. But being a carless high schooler, and with no Internet to easily bring indie music to me, it wasn't until 1981 that I snagged Black Vinyl Shoes. The fuzzed guitars, the haunting vocals and the great songs made me a fan for life.

If any band is particularly well suited for a tribute, it's Shoes. Although they have a unique sound, it's not like Gary Klebe, John and Jeff Murphy can be cited for their incredible vocals or virtuoso playing. Each Shoes disc is a fine listen, but when you come down to it, Shoes are a singles band - the greatest singles band to never have a hit single. Heck, I probably play Shoes Best more than any of their proper albums.

This tribute LP is definitive proof of Shoes' stature as one of the quintessential powerpop bands. 22 artists step up to the plate and every performance is a hit, with a number of massive home runs. At the top of my list is Matthew Sweet's "Karen" - I had never thought of Sweet as being inspired by Shoes, but this excellent cover illustrates that there is a definite melodic kinship. Likewise, Michael Carpenter's "Love Is Like A Bullet" sounds like one of his own tunes - a tribute to both Shoes and Carpenter, I'd say.

Some may quibble that there aren't many radical rearrangements of the tunes; I say, why mess with perfection? The changes are subtle - like Doug Powell's use of dynamics in the last verse of "She Satisfies" (and Powell's drumming is incredible), or the gloss of new waveyness that Sparkle * Jets U.K. apply on their knock out turn at "Cruel You".

The songs also sound just fine in the hands of unique stylists. Check out how well "I Don't Know Why" fits the soft folk-pop approach of the perennially underrated Shane Faubert. And roots rock royalty Walter Clevenger & The Dairy Kings conquer "If All I Had Was You" just fine. Like your Shoes hickory smoked and slathered with Cheap Trick sauce and drawl? Advance to The Shazam's "Hangin' Around With You". Meanwhile, Astropuppees ("The Tube") and Big Hello ("Tomorrow Night") show that Shoes tunes are like Irish Spring - made for a man, but the ladies like 'em too.

I would not be surprised if I play this record more often than some of my Shoes records. One hallmark of Shoes albums was the incredible consistency of their sound. On this tribute you get the best of both worlds - one well-written song after the other and a variety of performance styles. This easily ranks up there with the excellent Bee Gees and Hollies tributes. Let's have a sequel!

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