Scroll down for reviews of releases by The Elms and Switchfoot

Rick Altizer
(All Tie Zur)

(Not Lame)

Release Date: November 6, 2001

www.rickaltizer.com

Once upon a time on the left coast, Rick Altizer tried to make a musical career for himself. He got a job as a staff writer for Warner/Chappell Music in Los Angeles and with Elliot Roberts as his manager (who at the time also managed Bob Dylan and Neil Young), things looked very promising.

But things in the music industry rarely go smoothly. When a record deal with Sony (for $350,000) fell through, Altizer decided to get out of what he termed “that ego-inflating, hell-hole machine”. He put his family first and moved to Nashville, where he soon signed on with KMG, a small Christian Rock label.

From there, he released two records: 1998’s Blue Plate Special and 1999’s Neon Fixation, both featuring original Beatle-ish pop with a subtle Christian undercurrent. Both of these albums featured the multifarious guitar sounds and production skills of Adrian Belew, who recognized in Altizer an up-and-coming talent.

Altizer began producing for others in order to provide a steady income. As he mentioned in an earlier interview, he was thrilled with the concept: “Let’s see. I can play all the instruments, record and mix a Rick Altizer record and make ZERO dollars. Or I can do the same thing, have someone else sing on it and call it their record and make money.”

In 2000, Altizer released Go Nova, his first self-produced album on the smaller True Tunes label. For 2001, Altizer separated his interests for two separate musical projects. He wrote and produced Soul Lift: Soundtrack For The Sou> for the Contemporary Christian Music (CCM) market, which featured performers like Johnny Cash and Jars of Clay’s Stuart Mason singing gospel songs with a techno edge. Altizer wrote all the songs and played all the instruments for that release.

His second project (and focus of this review) was Altizer’s first truly secular release, All Tie Zur on Bruce Brodeen’s Not Lame Records. Like other CCM artists, Altizer was keen to have his songs exposed to a wider crossover audience and Not Lame, home of power pop, was a great match.

Altizer assembled this record as sort of a “best and the rest” type of compilation, re-recording versions of several earlier songs while also penning some new ones. Altizer was a busy guy here, playing many instruments in the course of compiling, producing, arranging and engineering a dozen solid tunes for his new power pop public.

The music certainly presents no crossover problem: this is solid guitar-driven and hook-laden pop, true to Altizer’s own Brit Pop influences (McCartney, Bowie, Kinks). Altizer admits to being a sucker for a great melody you could sing in the shower, and does his part here to add several of his own melodies to that pantheon. Once again, Altizer has enlisted Adrian Belew (King Crimson, The Bears) for all manner of sonic guitar leads.

While some CCM artists get openly preachy, the lyrics here are subtle and open enough to allow them to be taken in many ways. Whether it’s Altizer alone or with lyric collaborator Dwight Liles, the words concentrate on struggles with today’s world and issues of love, which is what Altizer sees as the defining position of any real Christian artist in the musical world.

“Our purpose for being is to show God’s love,” he says. “Whether it’s music or plumbing, our calling is the same. That would firstly include my wife and kids, then the rest of the world. We are called to love people. If we are doing ministry for any reason other than a love for people, it’s the wrong reason.” Love certainly is evident as a driving force in many power pop classics, and perhaps this is why the crossover works effortlessly here.

The set leads off with “Resurrection” a track from his Go Nova collection that could be construed as about either religion or love (or both, I suppose): “Be the death of me and be my resurrection / be my destiny untangle my direction / breathe your breath in me and be my resurrection.”

“Disco Ball” likens the Earth itself to the title object, as it becomes a sort of cosmically eternal nursery rhyme: “We’re spinning on a Disco Ball / love coming down and taking us all / where the darkness never falls.” “World’s Longest Night” is a very infectious melody, and the lyrics are co-written with CCM rock legend Terry Taylor (of DA fame). The arrangement is complete with nice harmonies and backup vocals, while the phrasing and lyrics work magically well, all about waiting for the day and its miracles.

“Trash Can Darling” relates the struggle of someone throwing it all away, while “Ray Guns And Plastic Flash” is a musical chiding of the “neon fixation” of a shallow material world, where fads offer no long-term truths: “In those crummy, boring moments / all the cheap toys in the world / Won’t save you from a miserable existence”.

“Moon And Mars” is another treatise about the world’s troubles and phony marketers (again with a catchy melody): The politicians all have parachutes / and all the poets carry guns / Street corner singer gets run down before his song is done / There’s thieves in the market of desire / wearing their crooked little smiles”.

“Never Shake His Hand” is a complex creation production-wise, from eerie opening strains of piano, to a quiet guitar build, to an ending back-up narration of cryptic “thunder phrases”. Lyrically, it’s a cautionary tale warning against the shaking of his powerful hand.

“Tape Gun Baby” features some sonic touches in the course of its arrangement, and though this track doesn’t feature Adrian Belew, it certainly sounds like a song Mr. Music Head could have written and performed.

“Just Because” might be my favorite track here, with horn accompaniment backing vocals oddly reminiscent of P. Hux (in a song that easily could fit on that wonderful 1995 collection Deluxe). It’s a playful lyric all about how love is the key to surviving a pathetic mess of a life.

“Oyster” is proof positive that Altizer can do the Brian Wilson/Beach Boys treatment effectively; and his performance on Dwight Liles and Steve Siler’s “John Lennon’s Glasses” is a flat-out homage to Lennon and the Beatles, purposefully borrowing references throughout, both lyrically and musically.

I confess to mixed feelings about the single “John Lennon’s Glasses”, even though I’m sure the intentions were good. The blatant musical lifts are there (“Day In The Life”, “Walrus”, “Strawberry Fields” etc.), as are the lyrical ones: “Remember when we had a dream / and all we wanted was some peace / we’ve got to give it one more chance / imagine that”. When such “tribute-style” songs are put together, there’s a thin line between respect and cleverness and gimmickry that trades on what some of us consider sacrosanct.

My point is that Altizer doesn’t need to rely on such gimmicks to win fans in a secular market. He has talent with his own music, and should let that be enough. Certainly this CD should appeal to most power pop fans. It has plenty of the requisite guitars, vocal harmonies and hooks to insure a large following without having to resort to Lennon & McCartney as an attention-getter.

Rick Altizer is a talented songwriter and musician to watch in the years to come. All Tie Zur brings you up to date with his talents thus far with the added bonus that you can sing along. Those who listen might be surprised to learn he has a past as a CCM artist - as such, All Tie Zur can be pronounced a true crossover success.

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The Elms
The Big Surprise

(Sparrow)

Release Date: May 21, 2001

www.theelms.net

Since this month I'm choosing to examine successful crossovers from the realm of Contemporary Christian Music (CCM), I'm happy to report on the musical revelation known as The Elms. For textbook classic Brit-pop, you'd be hard pressed to find better modern examples than what's coming out of Indiana on this debut CD The Big Surprise. This is the kind of CD you play and people literally stop in their tracks and ask you what it is. Musically and production-wise, it's that good.

The Elms take sounds from the past four decades and blend them into something new and exciting through the CCM angle. My only caveat: the lyrics get a little heavy-handed at times. For instance, in the song "Real Men Cry" you get the following: "There's a heart that wants to be just like Jesus / the man of all men / the only One that makes hearts whole again". If that sort of thing bothers you, you'll miss out on some fine music. It's your choice.

The disc leads off with the handclaps/cheers of the catchy pop "Hey Hey", which seems like a cross between the Bay City Rollers' "Saturday Night" and a high school pep squad, all innocence and bouncy fun with lyrics cryptic enough to pass radio play inspection. This is the most upbeat, accessible track here and logically enough, the first single. It talks about getting all the world has to offer when you choose to bow down (read your own meanings into this), but be warned: the other nine songs are not similar in sound. Rather, you get more of a Radiohead (circa The Bends), Oasis, sweeping arena rock sound (throw some Cheap Trick, Badfinger, Replacements, Tories and Jump,Little Children into that mix as well).

Following a successful 5-song EP that introduced the band to fans in early 2000, this quartet of talented twenty-somethings plays their modern Brit-pop/American rock amalgam tightly and presents a far more solid effort than anyone might have expected from a full-length debut. While 3 of those earlier songs appear in new renditions here (including the hit "Lifeboat"), the other seven songs were a long-time coming, almost two years.

In that time, the band continued honing their sounds, touring and gaining maturity and inspiration. The majority of the songs were written within the past 6-8 months prior to its release. By waiting, The Elms were able to present a better record - one listen and you'll agree. Guitarist and songwriter Owen Thomas has a gift for creating wonderful music, whether hard-driving rock or slower tempo ballads. He's got a voice that rivals some of the best in the business and can hold his own good falsetto with the likes of a Thom Yorke and/or Liam Gallagher, no problem.

So how does a group of four talented twenty-somethings appear on the horizon from out of nowhere? Here's a brief history: Owen Thomas and brother Chris came out of Buffalo NY to form a Christian pop/rock group in 1996 called Just Visiting (with a sound like Foo Fighters, Oasis and the lads from Liverpool). They turned playing into a career by committing to the concept of the band as ministry and toured incessantly at shows and festivals all across the U.S. With this experience behind them, they recorded the album Gardenshow on a small indie label. They did a self-titled second album in 1998 and in 1999 signed on with Sparrow Records, at the same time changing their name to The Elms (after a vision of Owen's uncle's estate in Wales and the way the elm trees comfort and surround the land there, much the way God surrounds and protects).

The Elms have continued as a busy touring entity, performing some 400 concerts in over 320 cities in venues from clubs to churches to schools and youth conventions and music festivals (most recently appearing at Luna Lounge as part of the NYC IPO festival). This tight performance ensemble is comprised of Owen (vocals, guitars, keyboards), his brother Chris on drums, childhood friend Thomas Daugherty (guitar) and most recent member Keith Lee Miller on bass.

When you combine the road-honed talents of the group with superb songwriting that seems almost too good for someone so young and then filter that through the production know-how of Brent Milligan (who rapidly is establishing himself as the Mitch Easter of the CCM world), you get the surprise of The Big Surprise.

As executive producer and A&R rep Lynn Nichols puts it: "The Elms are like all great guitar bands; two guitars, bass and drums - the way God intended it to be". Understandably, the simple beauty and power of their songs won her over. The key according to Owen is for the band to have spiritual, lyrical and musical depth to prove to people that great rock-n-roll music and the Word of God can coexist.

He tries to write songs totally based out of experience, straight from the heart, not intending to write "a hit", but aims to capture the inspiration directly after he gets it. "The only thing I have in mind when I write the tunes," says Owen, "is how I can get my emotion or the feelings of this very moment into this song in a way somebody else will be able to identify with."

The CD's second single, "Here's My Hand", opens with wonderfully lush strings and builds into a pleasantly simple yet classic ballad about reaching out for help at times. "Who's Got The Meaning" is a flat out upbeat pop/rocker with some horns, great vocals and harmonies, while "The Buzzing Won't Stop" is the first track that showcases Owen's falsetto in a Radiohead-type turn, another truly catchy melody about the buzzing guilt we feel when we don't deal with matters of faith.

"A Minute To Ourselves" is another melodic pop/rock gem, this one dealing with the idea that we need time and space apart from the craziness of the world: "We could find places to go / we could unlearn all we know". "You're Glowing" is a quiet simple ballad that uses horns for subtle emphasis. Lyrically, it's a direct conversation with God all about faith and reliance: "If my hope is gone and I could die / I'll let you be strong and be a rainbow glowing in my sky".

If I had to pick a "best" cut here, I'd choose the title track, which is a dark and moody lament that seems to mine metaphors with wit rather than testament, listing a catalog of deeds done in a need to be noticed. The orchestration builds in a way that can stand admirably with any ELO work and Thomas' vocals are emotive and hard-edged in what might be The Elms' crowning achievement to date.

This is a cohesive unit, focused on blending stripped-down Brit-pop and classic rock sounds and aware of their responsibility as potential pop icons. Owen Thomas is a fantastic songwriter who uses his talent for hook-filled melodies as a forum for his beliefs, often in poignant and thoughtful ways. Warm guitars, strings, harmonies and polished production make this an aural banquet to savor.

The alienation and hope issues, though cleverly expressed, all remain heavily rooted in Jesus and religion. And though the music soars distinctively, that might put many off. All told, a most impressive and energetic debut for what still must be heard as Christian rock from start to finish, though couched in catchy melodies and some great rock-n-roll.

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Switchfoot
Learning To Breathe

(Sparrow)

Release Date: September 26, 2000

www.switchfoot.com

By Gary Glauber

In covering bands that have had some success in reaching beyond the Contemporary Christian Music (CCM) market toward mainstream success, I have to include the latest effort from San Diego’s Switchfoot, who manage to put out some great music without any obvious or heavy-handed didactic preaching.

Learning to Breathe gets off to a great start in a song that (like so many others) takes on new meaning in a cautious, post 9/11 world: “I dare you to move / I dare you to lift yourself up off the floor / I dare you to move like today never happened.” Movement is a major theme throughout this CD, as themes emphasize that one should never stop growing, changing and moving toward a greater good. For instance, in the 1970s-ish anthem rocker “Love Is The Movement” the lyrics explain that love is the propelling force to get us unstuck from the fear and broken pieces of our lives. This is a group searching for answers and doing so in terms that are universal and easily accepted.

In this, the group’s third CD, there is a more mainstream post-grunge pop sound along with great vocals. This is great music to listen to, thought-provoking at times, and also containing a fair amount of fun. “POParazzi” is the centerpiece of this loose attitude, poking good-natured fun at our junk food media-fed starry-eyed celebrity-loving popular culture.

The title track talks about hitting new lows and needing new beginnings through faith.

“You Already Take Me There” describes heaven in the here and now, rocking steadily in a manner similar to others (say Live, or Vertical Horizon or Collective Soul). Brothers Jon (lead vocals, guitars) and Tim Foreman (bass guitar, keyboards) join up with Chad Butler (drums) and put out a solid collection here, perhaps their best effort yet. Jon Foreman wrote all of these very strong songs (co-writing a few with his brother), again reaching new levels of smart in covering love, forgiveness and redemption themes in sweetly melodic ways with pleasant chord progressions.

The trio rocks a bit harder than on albums past, offering more harmonies and nice guitar work throughout. There’s a nice assortment of styles and tempos, and the songs are pretty evenly split between producers Charlie Peacock and Jacquire King, both of whom take care not to overproduce the progressive rock sounds. Switchfoot (a term from surfing slang, by the way) have honed and polished the rough edges of their previous efforts. They know themselves better, and play to their skills now.

The music has a lot of references - Foo Fighters, Everclear, Fastball, even some U2 - and as a result, it may sound familiar even on first listen. The musicianship is strong, fine guitars and soft vocals from Jon, great bass work from Tim and impressive innovative drumming from Chad, and every song is worth the ear-time. Even the graphic design of the album is impressive (done by Tim Foreman, the first time a Sparrow artist was allowed to self-design a CD).

Obviously, I’m not the only one who finds this album worthwhile. This album was nominated for a Rock Gospel Grammy Award, but sadly lost out to an offering from the group Petra.

On “The Economy of Mercy” the group shows its quieter side, with wonderful poetic lyrics: “In the economy of mercy / I am a poor and begging man / In the currency of grace / is where my song begins”.

“The Loser” has harder grunge guitars and offers insight into seeing that losing everything might be a good angle of approach in dealing with things. “Playing For Keeps” is one for the masses, a relationship song about one on the bubble between either holding on or moving on.

“Erosion” offers up perhaps the most spiritually touching metaphor, a cry and a plea asking: “Oh, Spirit fall like rain on my thirsty soul / Erosion / Oh sweet erosion, break me and make me whole”, showing that doubts can be met with courage.

The compelling final track “Living Is Simple” ends with optimism in the face of questions galore (“Is this fiction or divine comedy?”) and the lack of understanding that accompanies this life. This is a serious band that mostly asks serious questions, with a progressive rock sound and melodies that are compelling. Perhaps the most accessible mainstream CCM band I’ve ever heard, Switchfoot’s Learning To Breathe is worth checking out.

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