Gary
Glauber
Reviews:
January,
2005
Scroll down for reviews of releases by The
Devlins, Frank Lee Sprague, Barry Holdship and The Day Traders
The Devlins
Waves
(Nettwerk Records)
Release Date: January 25, 2005
www.thedevlins.com
When you're from Ireland, and dealing in
alternative rock sounds, there's always going to be inevitable
comparisons to U2. The brothers Colin and Peter Devlin have
been dealing with that type of expectation for years. While
their previous three releases have been respectable, none
has caused a clamor on par with Bono and company. Yet as U2
has returned with a highly touted album (and a flurry of marketing
that trumps the music), The Devlins now follow suit with their
best release yet. If there was justice in the musical world,
The Devlins would be afforded the same coverage as their globe-trotting
compatriots. Yet, The Devlins will have no single featured
on any Ipod commercials. They've got to hope this music, their
most immediate and accessible effort yet, finds its own way
to a receptive public.
With Waves, the brothers set out to
treat the studio more as though it were a live show. With
engineer Danton Supple at the helm (The Doves, Coldplay, Starsailor),
there was a better dynamic - an ability to make things sound
epic and a greater chance to capture the energy and swirling
moods behind the songs. The results are great - upbeat and
surprising. Singer/guitarist Colin Devlin and bassist brother
Peter Devlin are in rare form, and Guy Rickarby's drumming
brings additional power to the tracks. While always known
for their ability to create compelling musical gems, there's
new oomph behind The Devlins' ten songs on Waves.
The CD opens with dark, swirling guitar loops
and feedback that herald "Everything Comes Around."
This is a brooding piece of infectious rock, suggesting an
inevitability beyond the fact that life goes on and on: "In
the crystal night I knew my tears were inside you / I could
see it in your eyes / In the space between the words I thought
that I had heard / Something I could recognize / And the touch
of her skin / like a needle going in /
Like another secret I can't hide / The voice of experience,
the times that make no sense / Something I could recognize
/ Oh, but everything comes around, everything comes around,
everything comes around / sooner or later."
The album's first single is the uptempo,
bass-driven "Sunrise," which should appeal to those
who are fans of the Pernice Brothers. It's catchy and reflective,
in all the ways that Joe Pernice does so well. The lyrics,
however, are much darker, suggesting suicidal notions for
the sake of love amidst summer fun: "Won't you let me
stay / Underneath the waves / It's the bright new face / and
forever is a life thrown away / It's alright."
The simple strains of guitar that open "Careless
Love" reflect the simple disappointments discussed in
the lyrics. Here is a man who, in his search for truth, got
something else: "Nothing hurts more than a heart that's
ready to break / When you've given all you've got and you've
taken as much as you can take / Nobody had to win or lose
/ nobody had to make it last / All I wanted, all I wanted
was the truth, not a careless love. "
The Devlins have a way with rhythm here that
only adds to the overall melodic appeal of these songs. "Someday"
has lots of subtle nuances that win you over in a song that
mixes reflection with advice, reminding another that "someday
you'll find your place in time" while espousing such
thoughts as "you've got to be strong, forget and move
on."
There's more quiet philosophy at work in
the song "Lazarus." The drums beat beneath the song,
haunting and yet reassuring as heartbeat, as we are told to
make the best of the time we have here, to turn things around,
make a new start, and "live the life you want / 'cause
you won't make a sound / when you are in the ground / and
Lazarus is still walking."
Another strong song here (and they all seem
very solid) is "Don't Let It Break Your Heart."
This is a message of consolation, of understanding another's
plight in love and ultimately, of hope and reassurance: "Don't
let it break your heart / Don't let it tear you apart / 'cause
bruises and scars ain't good / Some of these guys they want
to paint a target on your head / Love you all up, then leave
you dying, left for dead / But then somebody will play the
right song and you'll dance again."
Colin Devlin has a very expressive voice
that can veer into falsetto range when necessary. That's the
case in "Feel It When You're Gone," where the vocal
delivery does indeed convince the listener of the pain of
a relationship lost, admitting he was wrong: "It hits
me when you leave, when I get but don't receive."
Perhaps my favorite song here is the wonderful
"Coming Alive," where a funky feel, soft organ accompaniment
and a guest female vocal enhance the overall atmosphere. This
is a song arising from torpor, of lust and hot desire unleashed
and burning in the night: "In time, we'll be replaced,
you and I / so pick it up, move over here, I want you now
/ In the moment, forever yours, forever mine, / The day is
over, I feel myself come alive." The idea of lust as
life is well-served here.
In "Headstrong" a woman is chided
and admired all at once for her willful attitude : "See
the lovers fight in the street at night / see the traffic
march in the evening light / Did he break your heart so it
could no fix / did he phase you out, lose you in the mix?"
He admits he wants to shake her all night, and remind her
that "all the thing that hurt, you know, they're just
a part of living."
A tribal drum serves as the driving backbone
of the title song. "Waves" is yet another song with
optimistic sentiments, remaining hopeful even amid hard work
and tough lives and providing a poignant closer to this very
strong collection: "I take you out, I dance with you
/ And fade to black from neon blue / Somewhere in the dead
of night / Our memories remain in light. / You beat these
things, you ride these waves / And someday soon our luck will
change."
With this very strong collection of new music,
one can only hope that The Devlins' luck will change. Waves
comes forth with a new urgency and power that gives their
music a wider scope, one that better matches the sweeping
poetic reflections of the lyrics, and one that will be well
served by touring this music in live performance in support
of the disc.
While some of the music here is accessible, all of it gets
rewarded with repeated listening. One thing I really enjoy
about Waves is that it's not only good pop/rock music,
it's meaningful. The basic gist of all this music is that
life is a finite experience, that we should do what we want,
enjoy ourselves and live and love the best we can in these
fleeting moments. The Devlins (along with Danton Supple) have
created a fine album, full of melodic rock that weds a sound
that's halfway between U2 and the Pernice Brothers, and does
so with messages of import that arrive in a clever yet unassuming
manner. Waves deserves to make big waves - here's hoping
it will.
_______________________________________________________________
The Day Traders
The Day Traders
(20/20 Music)
Release Date: January 3, 2005
www.thedaytraders.com
If you liked The Dent (and I did), you'll
love The Day Traders. Two-thirds of that hard-working Fairfield,
Connecticut ensemble have re-formed under a fresh moniker,
and present eleven new songs that extend their signature intelligent
soft pop/rock sounds into a new realm of mature confidence
with the help of producer/singer/songwriter wunderkind Saul
Zonana.
The eponymous CD opens with an impassioned
plea to remain miserable (not so much of an indulgence, is
it?) in "Tonight I Wanna Be Sad." Mitchell Linker's
emotive vocals remain a big drawing card, and Jeff Norberg's
guitars are jangly, clear and layered in a most endearing
fashion. Zonana lends a hand with bass and more, while Kevin
Hupp guests on drums. Like many of the songs that follow,
this is infectious ear candy that gets sweeter with repeated
listens.
"Why" is a dulcet ballad of sorts,
bemoaning a relationship lost, eager for a chance to steal
someone's heart away, confessing "I don't really wanna
be lonely." Again, the vocals are a strength - both Linker's
lead and Norberg's backing vox. Further, the subtle nuances
and hooks of the arrangements really work well, highlighting
the craft within each song (I'm always a sucker for good middle
bridges, and The Day Traders display a fondness for them).
A failed relationship that refuses to die
is the subject matter for the pleasant "Out of My Head,"
arranged with sounds like something out of the Elton John
canon, back when he was at his most popular. The gist is that
the sound of a voice could seriously affect plans for this
mental removal plan, which sounds like a half-hearted effort
at best.
Another lovely ballad, "Sorry About
The Time" gives us the rare treat of Jeff Norberg lead
vocals (and they are quite good). This quiet, reflective piece
covers similar ground (here the narrator is eager for apology
for the times that were, thinking of all he should have said
and wondering "can I go on without you").
Norberg gets another lead vocal in the delightfully
romantic "Goodnight." Here Kevin Bents keyboards
and Aaron Comess on drums are used to great advantage (as
are the backing harmonies between Linker and Nicole McKenna).
It's more unrequited longing, alas: "Here atop on this
barren hill / Thinking of things I know too well / Knowing
I will see you in my sleep."
The addition of Kevin Bents' mini-moog accents
flavors the stutter-start antics of "Worry About You,"
another catchy love song where concern has overtaken love
to a frightening point (nerves are frayed, he's scared half
to death). Linker's vocals sell the lyrics (yes, I'd say it's
a serious issue), and overall, the song is classic Day Trader
material.
Unhappy relationships seem an endless fount
for resource material. In "The Night They Said Goodbye"
we get another pair on the skids (or is it all a bad dream?).
"Fantasy" is a syrupy ode to (dare I say it) another
lost love, this one protected by the safety of the reverie:
"To get you in my mind, to have you in my heart is easy
/ And what we left behind / it makes me fall apart, it's easy
/ to slip into this dream."
"Work It Out" gives us a slight
variation from what's come before. It's a modern bit of melodic
weltschmerz, all about a world-weary man, lost and confused
and unable to work it out: "It's the end of a phase or
is it the beginning / Here I am in this haze trying hard to
understand / Why everyone is wrong / and I can't get along
with anybody else."
"Someone Else Will" is short and
sweet and (no surprise) chock full of relationship woes. Lyric-wise,
there's a distinct lack of communication going on (and only
someone else will resolve that, sadly), but music-wise, there's
a great use of traded vocals (Linker and Norberg and Zonana)
and 5-string electric bass.
The CD closes with the poignant piano ballad
"Come Home." Kevin Bents accompanies Mitchell Linker's
distinctive voice on this love song/ paean to New York City
and its more exciting, perhaps less-glamorous locales (125th
Street, the lower East Side). Curiously, The Dent's last album
also closed with a piano ballad about NYC. Perhaps it's become
a tradition - but the listener gets the benefit of the lovely
music.
While predominantly offering love songs of
a wistful nature, please don't think The Day Traders offer
the same things over and over. Each song here has its own
personality, its own cache of nuance and subtle hooks. Linker
and Norberg (and producer/contributor Zonana) achieve the
sort of excellence in soft rock sounds not often heard these
days (think the best of softer Bee Gees or Bread or even Matthew
Sweet).
These gents produce the kind of music that
cries out for wider exposure - oh, if only commercial radio
had the wisdom to recognize it. Perhaps some television or
film executives will afford The Day Traders an opportunity
to match their sweet sounds to a deserving soundtrack.
The Day Traders offers it all: great
guitars, wonderfully accomplished vocals and harmonies, infectious
melodic songs, and clean arrangements that present this knowledgeable
soft pop/rock in its best musical light. If you're a fan of
soft rock, these talented guys truly deserve your attention.
While dealing with actual day traders might require all manner
of caution, spending your money on these Day Traders is a
solid investment, one that will give you sound returns for
a long time to come.
_______________________________________________________________
Frank Lee Sprague
Merseybeat
(Wichita Falls Records)
Release Date: November 9, 2004
www.wichitafallsrecords.com
It's about 4593 miles from Wichita Falls,
Texas, to Liverpool, England, where you can find the Mersey
River. Yet that distance seemed far less back in the late
1950s and early 1960s, an era when Texan Buddy Holly toured
England and influenced several bands that would be later bring
their Merseybeat sounds back to America. Other Texan musicians
that made their mark in England back then included Bruce Channel,
the Bobby Fuller Four, and the Sir Douglas Quintet. Perhaps
the Texas/Liverpool connection hasn't been all that active
for several decades, but one man is out to change all that.
His name is guitarist/singer/songwriter Frank
Lee Sprague, and he hails from West Texas (in fact, he's a
distant relation of Buddy Holly). So it's rather fitting,
I suppose, that in tribute and celebration of that long ago
connection, Frank has forged a collection of primarily original
compositions in the exact style of those Mersey originals
of long ago.
The CD opens with the infectious "You're
Different," featuring a wonderful guitar riff, great
harmonies, requisite handclaps, a nifty lead and an arrangement
that captures perfectly the tone and timbre of yesteryear's
songs. It's a sweet ode to the one girl who stands apart and
says things that drive him stark raving mad: "No one
talks like you do, no one walks like you do / 'cause you're
different, oh so different / and I think I'll tell you right
now about the way I feel / there's just no one else in the
world that seems quite as real / Oh yeah, oh yeah, you're
different, oh yeah."
Next up is "My Luck Is Bound To Change,"
which really captures the feel of early Beatles with Lennon
singing. Frank adds in some backward guitar loops to keep
it real, but otherwise, manages an amazing aural simulation
(and keeps it to a trim 2:28). Lyrically, it's also true to
the period - a song about a girl who leaves him blue, changing
his luck. Hearing this, you'll be instantly transported back
to that time.
"Alone With Her Memory" is another
early-Beatle era type song, this one more of a melancholic
ballad (and featuring harmonica and woodblock percussion accents
that cement the musical similitude). Frank Lee Sprague does
justice to that sound all around, from the simple drum fills
to the vocal nuances.
We get more of the McCartney side of the
early Beatles in "So Far From My Heart," this being
a sort of short but sweet guitar ballad (with the sort of
very simple lead one might find at the time). "White
Gold" is another soft dulcet ballad that recalls this
sort of McCartney song of the early era (complete with Spanish
guitar accents.)
"Like The Break Of Day" trades
off a basic skiffle beat, using mournful harmonica and a jangly
guitar lead to back a strong vocal track. Again, the songs
and the arrangements are both extremely well done.
"Can't Stay" is a gem of a song
that masterfully reflects the sweet harmonies of early Buddy
Holly and the Crickets or even the Everly Brothers (or even
Chad and Jeremy and/or Peter and Gordon). It features guest
background vocals from Doug Fieger of The Knack.
"Without You, I Do" is less reference-specific
(though I'm thinking of Billy J. Kramer and the Dakotas or
The Searchers somehow), yet it is written in the true Merseybeat
style. "I'm To Blame" is another of these songs
that is true to the era (but less specific reference-wise).
I guess you can take your Merseybeat pick here: The Hollies,
Herman's Hermits, The Swinging Blue Jeans, Freddie and the
Dreamers, Wayne Fontana and The Mindbenders.
"I Ain't Gonna Cry No More" is
more paean to Gerry and the Pacemakers (with a musical tip
of the hat to their "How Do You Do It"). Mr. Sprague
again does a fine job of conveying the musical sensibility,
the essence of what the Merseybeat sound was all about.
Some might feel it's heresy, but Frank Lee
Sprague's answer to "I Saw Her Standing There" is
his "Nineteen." Here we hear about a heartless and
cold young woman, "old enough to know better and too
young to care." Apparently, she's already gone all the
way and back - ah, the shame of it all. The song also features
a cute chorus that counts up to her current age. It's very
tongue-in-cheek, and ultimately, a truly fun send-up. Once
again, Sprague captures the tone exactly.
"I've Been Waiting All My Life"
closes the proper album (though there are bonus songs included),
another lovely sweet original Merseybeat-style gem a la early
Beatles, featuring another nice lead and the declaration:
"Give me love or let my poor heart be."
The first bonus song, "Our Love Is Real," pays homage
to the Isley Brothers' classic "Shout," and features
rhythm and blues legend Big Jay McNeely on tenor saxophone.
The next song is a cover of the Al Kooper/Bob
Brass/Irwin Levine song "This Diamond Ring" (made
popular by Gary Lewis and the Playboys in 1965). The shortened
version available here as "Her Diamond Ring" is
a Sprague Merseybeat-style stripped-down reworking of the
classic.
The final bonus here is a cover of Little
Richard's "She's Got It," reworked into a McCartney-style
rocker (as though the Beatles themselves were doing the cover).
As if those 15 songs weren't enough, there's
also a hidden track included (if you wait beyond the final
track), another delightful Merseybeat-style treat that opens
with some old radio-tuning static and then turns into a full-fledged
arrangement of a love song (it's like discovering a lost early-Beatles
classic).
This CD presents a host of catchy original
songs that remain true to their source inspirations of yore.
Merseybeat is a genuine labor of love from a very talented
musician who has managed the difficult feat of capturing the
essence of spirit behind the great songs of that era. When
listening to this, you'll be tempted to pull out the old collection
and spin some of those older gems you haven't heard in while
- and that's high praise indeed (say, whatever happened to
my Herman's Hermits albums?).
Sprague claims he is "influenced by
none, and inspired by many." He has done a fine job with
this project -- the quality of the songs, the excellent musicianship
and the arrangements make this a cut above many other tribute
band projects. Allegedly, the multi-talented Sprague has over
a thousand songs already written and is currently working
on recording his next release - I'll be curious to hear what
that CD will sound like.
_______________________________________________________________
Barry Holdship
Ruff Trax
(Bad Axe Records)
Release Date: November 24, 2004
www.notlame.com
While many these days try hard to recreate
the sounds of the past, most delve into the sounds of the
psychedelic sixties, or perhaps the new wave sounds of the
late seventies or early eighties. Others try to recreate the
sounds of the Brit-pop invasion, or merely the sounds of the
Beatles or the Byrds. Hardly anyone tries to reach even farther
back than that - but that's where Barry Holdship proves the
exceptional exception.
The talented Mr. Holdship specializes in
a variety of musical styles, some of which recall the simpler
music times that pre-date the Beatles. There was a whole world
of rock and roll that pre-dated the British invasion - think
Buddy Holly, the Everly Brothers, Bobby Fuller and many others
(including Elvis). Those were times when the popular music
was sweet and sunny, and everything was awash in a sugary
glaze of genuine optimism.
Holdship takes those musical memories, translates
them through his own rootsy style and creates original songs
that sound instantly familiar, as if they were classics from
those decades long past. He rewards fans who have been waiting
years for this album - Ruff Trax offers up 16 tracks
and just under 50 minutes of quality music.
Barry Holdship grew up in Detroit, then relocated
to Los Angeles. His first band (Let's Talk About Girls) was
a regional success in the Midwest, and his 1997 CD (The
Jesse Garon Project) was critically lauded in Europe and
the U.S. Now, seven years later, he's back with a solid collection
of affable music that sounds retrieved through a time machine,
with a retro-crooning style that recalls more innocent times.
The CD opens with "Fades To Black,"
a short song which recalls a western rock style from long
ago, complete with male chorus and whistling lead (I'm thinking
of something along the lines of what Frankie Laine or Gene
Autry once did so well). This sounds like something that could
have been a theme song to a TV western.
The rollicking "Where To From Here?"
could well be an anthem for those befuddled denizens of the
blue states, post-election. It features some fine barrelhouse
piano, and cruises along like some classic Del Shannon or
Dion tune.
"Walking In My Dreams" goes for
the sort of Farfisa-organ driven pop sound once rediscovered
by a young Elvis Costello. There were all sorts of bands doing
this sound in the early 1960s, and it's good party pop. Holdship
does a good job with it, writing a catchy little two-minute
ditty.
Holdship is just as good when it comes to
creating pretty ballads. His lovely "Stuck In Time"
trades off of sweet guitar solos, and recalls the early crooner
style of Roy Orbison or Bobby Vee.
"Nothing Means More Than This"
is a more upbeat tune, something akin to surf rock, one that's
guaranteed to have you shaking your head along with the music
(if not twisting the night away).
"Hearts Won't Lie" sounds a bit
like early Motown (and you can hear Holdship's Detroit roots
coming through) as he talks about how "a dream comes
true / I found that out the day that I found you."
Another pretty one is "A Fractured Lullaby,"
recalling Neil Sedaka or Bobby Vinton or the gentles folk-harmonies
of The Four Freshman or The Letterman. Holdship has a way
of transporting you back to those times with a sound that's
as genuine as the original artists. These melancholic love
songs are timeless.
The harder-edged electric guitars of "Summer's
Gone" suggest a later era, kind of like the late 1950s
vocals meets Bad Company in a standard blues rocker. Even
with the harder edge the guitar provides here (there's a guest
solo by Andy Bartel), the song still comes across as more
mellow than most of today's music.
There are early Dylan harmonica influences
to be heard in "Give Your Heart To Me," a simple
song that sounds as familiar as any from the Goffin/King or
Holland/Dozier/Holland canons. Holdship has a way with creating
new songs that sound vintage and time-tested.
If I had to pick the catchiest track, I guess
I'd select "We'd Be Good Together," an upbeat song
with infectious trumpet and cowbell accents. This is one that
will stay in your head long after the music stops playing.
"Every Day Rain's In My Heart"
again recalls early Motown-sounds (or *Get Happy*-era Elvis
Costello), yet the vocals are more like a Frankie Valli or
a Lou Christie (or Eytan Mirsky, if you wanted a modern comparison).
The one cover here is Bobby Fuller's "Only
For You." Holdship does a great version of this, a fully
fleshed-out arrangement that will transport you instantly
to someone's party in a wood-paneled basement somewhere.
We get a little Slim Whitman falsetto flash
in the wee bit known as "Doc's Pain," which segues
into the somewhat reflective "Here With Me." This
song talks about heartache and the search for peace of mind
and solid ground in life: "Crippled eyes could never
see / all the love in a lonely room / here with me."
There's some fine western lead guitar solos, and again, the
song is catchy.
"One Step Behind" exudes a bouncy
charm, and sounds like something that could fit into the cast
recording of Grease. This would be a wonderful soundtrack
song regardless, a celebration of heading out into the world:
"We always ran in circles, one step behind / reaching
out for the stars above and falling short of the line / Well
most likely you'll go your way and I'll go mine / Raise a
glass for the brokenhearted / for the love that's still departed
/ it's time to finish what we started / and no need wonder
why."
There's also an affable bonus track here as well (which could
easily fit into something retro like A Summer Place).
While Barry Holdship is ultra-talented, his
sort of retro rock won't appeal to everyone. There are many
who will find this charming collection of music just too mellow
for their modern tastes. But for those who have fond memories
of all those many artists who occupied the charts way back
when, Holdship's music is a pleasant nostalgia trip, recalling
sounds and artists from days long ago, when the world was
about love songs and things seemed far less complex than now.
Holdship himself is a nostalgic original - an old-time crooner
landed somehow in a different time and place. His Ruff
Trax serves up that sort of musical serenity of the highest
order, with mellow arrangements of songs that not only ring
true, but daresay could hold their own beside those originals
of yore.
_______________________________________________________________
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