Scroll down for reviews of the latest from Darren Hanlon, Farrah, They Might be Giants and The Jeff Lynne Tribute

Richard X. Heyman
Basic Glee

(Turn Up Records)

Release Date: July 10, 2002

www.richardxheyman.com

For fans of jangly guitars, great harmonies and old-fashioned song craft, this CD is like manna from power pop heaven. Richard X. Heyman’s Basic Glee is a celebration of the various sounds you can get from guitar and while other instruments make cameo appearances, this is about six and twelve string guitars, electric and acoustic and the musical glee they provide.

Culled from thirty new songs, these fourteen that made the cut offer a wide range of variety in tempo and topic, and not a clunker amongst them. Once again, the under-appreciated Heyman comes through, and this time with his best effort to date.

For those as yet uninitiated to the many talents of Richard X. Heyman, the singer/songwriter/multi-instrumentalist started out at age five behind a drum kit and later moved on to piano, guitar, bass, singing and songwriting.

By 1986, he had an EP and two years later had the first ever home-recorded album to get reviewed by Rolling Stone. This album (Living Room!)was later re-released by Cypress/A&M. His follow up to that, 1990’s Hey Man! remains to this day a strong CD of great melodic pop.

It was a long haul before the third CD. In 1998, Cornerstone was released to yet more critical acclaim. Heyman had grown musically, and the songs seemed a bit more complex, a mite less immediately accessible. In 2001, he released an EP that featured Herman’s Hermits own Peter Noone (Heyman, Hoosier & Herman).

But Basic Glee seems to be the best yet - glorious harmonies and delicious melodies, perfect fills and skilled performances that defy the reality of it being almost all a one-man show (wife Nancy Leigh does lend her bass-playing skills on a few tracks, and she engineered the CD).

The music gets better with every listen. “Everywhere She Goes” is a delicious reminisce of a love gone bad played on a Fender Stratocaster, regrets and wishes flying in the face of the hard evidence even after ultimate efforts have been expended.

“Pauline” is one of the most infectious songs I’ve heard in a long time, a love song about one’s dependence upon this stolid voice of reason, and how just a mental reminder might be enough to pull him through again. Heyman says he wrote this one originally as a piano instrumental some thirty years ago - it sounds incredibly fresh today, plenty of backing harmonies and a nice build with guitar fills behind the piano.

Love songs, sweet love songs - who can ever get enough of them? “One Way Feeling” is the sad tale of loving and not being loved in return: “I thought I’d found her / the girl who could be everything I longed for / The one I could give all I had and much more / She glanced straight at me, her eyes were so concealing / And right then I knew it was my own one way feeling.” Sweet guitars point up this tale of sad fixation (a Yamaha acoustic twelve-string and a Martin, for the record).

Heyman’s expertise as a drummer serves him well here, as on many of the tracks. He manages just the right touch with subtle rolls and rhythms that serve the songs so well. The more you listen, the more obvious are such subtleties.

“Let It Go” is a throwback musically to kind of well-written pop classics of yesteryear. Just superb rich music - well structured - with the words complementing the rhythmic structures here, and the nuances of guitar fills are perfect within the overall curtain of gorgeous guitar sounds. A great lyric spells out the title’s advice for someone “dumbfounded by a kiss” whose world is about to fall apart. The kicker is revealed at song’s end: “I’ve been there too / And I did what you’re trying to do / And you don’t even know I loved her even more than you.”

The rhythmic interest that Heyman puts into his songs works even on the slower tempos. “When Evening Comes” features some amazing bass line work from Heyman to finesse the guitars that complement the vocals so well. This is a delicate love song about the time of day when a couple gets to reunite after a hard day - beautifully related, a rare straight ahead love song from Richard to wife Nancy that lets poetic lyrics and guitars convey the feelings well.

“Diminishing Her Return” is another song that offers wonderful instrumental counter-points while relating a tale about loss/divorce: “So like it or not / She’s making you pay back what your warned / The minute you stop / Diminishing her return.”

“Broken Umbrella” rides on a galloping rhythmic guitar riff (this one serves up a Les Paul and a Rickenbacker twelve-string) to convey the image of broken umbrellas as wreckage strewn on a battlefield and ties it in with feelings of being left behind.

Heyman claims that The Lovin’ Spoonful were something of an inspiration for “Vantage Point High” and John Sebastian would be proud. This song talks about seeing things for what they are, taking action on your dreams and ignoring the rules of others - a reminder that there is no time to kill.

“Wishful Thinking” is another tale of lost love, related in an R&B style. Here Heyman shows his “soul” side, complete with background “oohs,” organ, and a guitar lead that shows Heyman is no lightweight.

“What In The World” is about a man at his wit’s end, wondering how and what got him to where he is now. It’s more lost love and reminisces, but captured again in a tremendously infectious style with harmonies and great cascading guitars.

Glee is not the basis for most of these lyrics, and this especially is the case with the fragile “Waterline.” This slow-paced ballad is about going underwater to escape a bad relationship. However, the wonderful Martin guitar sounds might make you forget this beautiful sounding song is about a suicide attempt.

Heyman says that “That Will Be The Moment” is another old one (this one only twenty years old). With more lush harmonies and great guitars, it sounds fresh to me. It’s just further evidence that Heyman knew how to write a great three-minute pop song even then.

“Hand Prints” is musical homage to every one who ever played in a high school rock n’ roll band. Heyman grew up in Plainfield, NJ, in the 1960s, and references it here (Kenyon Avenue, the Strand movie theater, the Frontier Diner). Again Heyman shows he can still handle the rock end of things well (Fender Telecaster and Rick twelve-string guitars share leads, while Nancy Leigh handles the power bass line with a Hofner).

“My Lorraine Bow” is a musical dialogue between a woman who doesn’t want to be left behind and a man who knows that he will do so eventually, but is willing to lie for now in order not to hurt her anymore. As on almost every track, fine harmonies abound within some highly melodic pop.

Heyman is a master of the art of the home studio, as well as a great old-fashioned craftsman when it comes to writing songs. Recorded primarily at Heyman’s home “Tabby Road Studio,” Basic Glee already has become a fast personal favorite for me.

Talented Heyman also has a new book for sale (see his website for more information) entitled Boom Harangue wherein he recounts tales of his life to date in the wacky world of rock n’ roll. Is there any limit to this man’s talents?

If you love the sounds and textures of guitars and sweet melodic harmonies, you’ll love this CD. Why don’t more people know about him? That remains one of the bigger mysteries -and I hope I can do my part to change that. If you love Heyman’s earlier efforts, I guarantee you will be ecstatic about this new one. And if you don’t know Heyman and his music - do yourself a favor and discover him as soon as possible. I promise you’ll be, well, full of basic glee.

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Darren Hanlon
Hello Stranger

(Candle Records)

Australian Release Date: March 15, 2002

www.candlerecords.com.au

When one thinks Australian balladeer, one first thinks of Paul Kelly. But there’s a new star on that continent’s horizon - one Darren Hanlon who comes from Gympie, Queensland, with music that is fresh and disarming. His first full-length CD Hello Stranger is ten tracks of great storytelling, simply arranged to best serve the wit and naivety that resides within.

Hanlon’s unaffected sounds remind one of Billy Bragg, only with a very different focus. (Strangely enough, Hanlon opened for Bragg on a recent tour). While Bragg often takes on the whole world and its politics, Hanlon merely hones in on the politics of love and relationships, smaller personal issues and objects of less consequence. Hanlon is able to invest such things with a surprising magic; his is that rare ability to present the commonplace as special. This is observation with wonder, a wistful world seen anew with innocent eyes.

Yet Hanlon is a reluctant solo artist. While studying music at The University of Southern Cross in Lismore, he joined up with the folk-inspired indie group The Simpletons as guitarist and stayed on for five years (1993-1998). He later played a bit with Mick Thomas (of Wedding Parties Anything) and The Lucksmiths (extra guitar and keyboards). He had written a few songs over the years, mostly as gifts for people, and would play them at friends’ birthday parties, but never really considered a solo career until Candle Records’ owner Chris Crouch suggested it.

Crouch pushed Hanlon out into the spotlight, and soon he was playing shows around Sydney and recording an EP. When Australian Triple J Radio started playing one of his songs in heavy rotation (“Falling Aeroplanes”), the unplanned career was well underway. Now he has his first full-length CD - a minimalist gem of ten special tracks that still seem like personal gifts - only they’re available the world over.

The past few years Hanlon has toured extensively, opening for Bragg and Magnetic Fields and Augie March. His comic tendency to talk abundantly has won over many a live crowd. In fact, his current tour is taking him from Sweden to the U.K. to the U.S. (you can find exact venues and dates on Candle Records’ website). The troubadour is quirky (he seems proud of an obsession with the film actor Eli Wallach), but his music is endearing.

Opening track “Hiccups” is an upbeat anthem that proffers some advice on finding a cure, but it’s really about a woman obsessed with games and mismatched moods. It contains astoundingly clever wordplay, with lyrics like this: “A thousand ideas I try to tell crossword girl / How do I get one across when you’re always too down” and “Some day without trying you’ll find something that’s rare / Like an eight-letter word with a triple-word square.”

“The Kickstand Song” is a narrative from the guy whose ingenious invention changed the cycling world forever, as he ponders that his real reward will be the smiling facers of bike owners everywhere: “What joy it’ll bring / piece of metal and a spring / Bolted down by the back wheel / activated by the heel.”

“That’s How I Know” is a wistful reminisce of a relationship now gone, familiar territory made palatable by some witty phrasings from this guy who now is up by the crack of noon (“They say that waking up is hard to do”). “Security Leak” is a pressured plea for information from a man who knows all about Chinese torture, and features some wonderfully weepy pedal steel from guest Nick Summers.

The title of the CD comes from “He Misses You Too, You Know,” a sincere recounting of a phone conversation re-assuring a friend whose love is away that the traveling party must be thinking of her. The honesty is what makes this ballad so special, it’s simple and yet real and ultimately wonderful. Once again, lyrical attention to detail gives the whole thing added credence, it’s obvious that this is a close friend: “I know it’s hard to become whole when you’re usually referred to as his better half / but you’re still the girl who chops onions wearing swimming goggles.”

Perhaps my favorite track here is “Operator…Get Me Sweden,” an unabashed tribute to those who work the switchboards connecting peoples’ voices, or as Hanlon sees them - this earths’ long distance love ambassadors: “To speak to her tonight I’ll take anything / By means of fiber optics or two tin cans on a string / I really must apologize for my compulsive behavior / One left his heart in San Francisco, mine’s in Scandinavia.”

“Cast of Thousands” features vocals by Frida Eklund (from the Swedish band Alma), and again this is an unusual twist on the familiar love long gone. This woman’s ex of a year ago has now broken his leg, which triggers a hospital visit: “You had a cast of thousands of signatures and charts filled with your fluctuating temperatures / You handed me a pen and pointed just below the knee / I’m glad there’s still a part of you reserved for me.” This is not your average reminisce, it’s a whirl of mixed messages as she thinks: “Shame they can’t cover us in plaster and in six months all is mended.”

The current radio favorite from down under is “Punk’s Not Dead,” an infectious upbeat ode to a roommate hell-bent on playing her punk music at any given hour, and the temporary peace that comes when she goes to bed. “Cheat The Future” is a Bragg-like recounting of love’s victory over astrology and fortune telling prophecy.

My other favorite track is the beautiful closer - the plaintive piano ballad “The Last Night Of Not Knowing You.” This song relates every detail of that remarkable night before his life changed and the singer marvels at the intricacies of such fates, as if “some divine puppeteer had the whole meeting planned.” This is Hanlon at his lyrical best, poetic and honest and charming, telling about playing a gig far from home where it happened: “An arrangement of strangers, tables and chairs / Tobacco and wine left me fuzzy upstairs / But what weak minds prevent well hard proof may allow / Did my eyes have a spark that they seem to have now / A blurred photo taken that even holds not a clue / on the last night of not knowing you.”

The tracks are all simply arranged, the music never getting in the way of the storytelling. Chris Townend of Sun produced it in his studio (he is producing the new Portishead) and managed to make these ten diverse songs into a very coherent collection. This is mostly acoustic folk-rock, and while there are pianos and bass and drums and even some pedal steel and strings, the mainstay is Hanlon’s voice and guitar.

These songs are long on clever yet maintain a simple charm by being infused with a winning naiveté. The overall effect is refreshing - stimulating for the mind and easy on the ears. Hanlon focuses on details with admirable honesty - this is music about things that are real, heartfelt without being sentimental, poignant and playful where others might get syrupy sweet. Treat yourself to the charms of Hello Stranger. Like much of what he writes about, Darren Hanlon’s music is a simple pleasure.

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Farrah
Moustache

(Ark21 Records)

U.K. Release Date: May 28, 2001
U.S. Release Date: June 11, 2002

www.farrah.co.uk

The “skinny tie” era of British pop calls to mind some very good times. Things were simpler, the harmonies flowed and there was no shortage of catchy three-minute songs about being in love, wanting to be in love, and having been in love. Even if things weren’t perfect, you could dance your troubles away.

In almost every conceivable way, this new millennium seems a far cry from that earlier era, but now and again a band will rise up against the popular tide with a bouncy Brit-pop sound that hearkens back to the originals. Farrah is one such band, heir to big choruses and melodic radio-friendly fare, out of York in 1998, the brainchild of one Jez Ashurst.

Guitarist Jez and his school pal Mike Walker (bass) teamed up with Andy Campbell (guitar and keyboards) and Mike Hopkins (drums) to become Farrah. Like some phoenix rising from historic pop’s ashes, three-part harmonies and old-fashioned song craft get animated with a new energy and a song is released.

That song “Terry” a musical cry for help to a friend from one in over his head in some London club, sold out in its first week back in August 1999. This success provided the momentum over the next year and a half for the band to write and record the songs that would become this debut album (on Miles Copeland’s Ark 21 Records).

Moustache (named in honor of Mike’s uncle who has the dubious distinction of owning the longest moustache in the U.K. - see the lyric insert for visual verification) met with critical applause when it debuted in 2001, in fact many included it in their best of lists. The good news is that it finally is being released in the U.S. (over a year later).

There’s plenty to recommend here, including an impressive very early ‘80s sounding cover version of The Rubinoos’ “I Wanna Be Your Boyfriend.”

If you like your ballads short and pretty, check out “Only Happy When She’s Sad,” a tale of a woman who does everything to please her man and still he cuts her down, told in just under a minute.

The second single from this CD was the infectious “Living For The Weekend.” Nice guitars, wry lyrics, and great beats combine in the style of The Jagz or The Vapors or any number of groups past and present that manage to channel energy into pure pop confection. This fun summer song is a tale of some damaged goods guy (“He never acted on some great ambition / his hair was ginger but he called it titian”) and a woman who lives for the weekends. Similarly, the song “Talk About Nothing” trades on that perky new age “skinny-tie” sound, mixing in a little soul in a middle bridge.

There are hints of many groups here: Supergrass, Fountains of Wayne, Teenage Fanclub, Sloan, Cheap Trick, Squeeze and more. “Tired of Apologizing” brings some horns to the affair, in a melody that’s a distant relation of The Flying Machine’s “Smile A Little Smile For Me.” The lyrics are straightforward; he’s tired of apologizing every time things go wrong.

“Lois Lane” is a lovely tune about love (“If you’ll be my Lois Lane, I’ll be your superman”), trading on what seems to be a popular superhero theme for lyrical fodder (e.g. Five For Fighting, XTC). “Life’s Too Short” is another sweet song, inviting us to examine our relationships in consideration of number of days left to live (“life’s too short to waste my time on you”).

The Squeeze-like “Sofie SoFair” tells about drinking with a German schoolgirl, while the gorgeous ballad “Don’t Let Them Get You Down” is a consolation song that sounds like it could have been something by The Tories.

“Seventies Superstar” is a wonderful pastiche (complete with sirens) on the disappointing aftermath of fame from decades ago, showing evidence that Farrah has plenty of musical range to take on more than just sounds from the past. There’s some very tasty guitar and a confident feel that hints at much future promise.

“Goodnight God Bless” closes the CD with a pleasant piano-based ballad/anthem, that compliments its audience, and opens a bit in the middle for some more fine lead guitar, then returns to eventually invite all to “sing along to fade.” This is sardonic mockery, and yet Farrah manage to make it work, mostly on the strength of the song itself. (The hidden Casio bonus track isn’t really worth the wait, but is there if you have the time and inclination).

While this music won’t change the world, it’s really well done. One wonders what direction might come on the next release, whether it will be more of the same or not. Thankfully, the wait won’t be long (the website claims Farrah are in the studio now and promise a new release by the end of 2002).

For those fans of good old-fashioned Brit power pop who didn’t rush out to get Moustache a year ago, you’ve got your second chance now, better late than never. Summer is the perfect time for such sweet musical sunshine. Head to the beach in your convertible, wax up your handlebar moustache, and crank these Farrah tunes as loud as you can.

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They Might Be Giants
NO!

(Rounder Records)

U.S. Release Date: June 11, 2002

www.giantkid.net

Hang on, hang on tight. The new release from eclectic alternative geek-rockers They Might Be Giants is an interactive multimedia experience geared toward children of all ages. Sure, this is their first officially designated “kids” album. But as it incorporates the strange charms inherent in their past work, the new CD is not much of a stretch at all. Instead, it is a delightful niche for the sort of short and often odd songs that populated many an earlier album. Imagine the short sound bites of “Fingertips” (off Apollo 18) extended and explored a bit further, then conjure up interactive animated accompaniment. Please pass the milk please, indeed - this is fun for the whole family!

NO! is everything an enhanced CD should be. When you put it into your computer, the magic begins. An opening yellow screen presents you with certain items to click on while music from one of the songs plays (this music varies). Each of the items on the bottom row leads to a song - allowing you access to 13 of the CD’s 17 tracks. Many of these are interactive - and all provide lyrics for singing along - as well as playful instructions about what to do while watching and listening. It’s inviting and addicting - and really fun - oh, and I guess kids might like it too.

The Chopping Block, (www.choppingblock.com) a graphic design firm in NY that has worked with TMBG before, has done all the impressive design, illustration and programming (and if you visit their site, you’ll be treated to the firm’s TMBG-penned theme song). The idea of doing such a project has long been a desire for the two Johns after two decades or so of being They Might Be Giants and writing songs that sometimes seem like bizarre children’s anthems anyway (e.g. “Chess Piece Face”,“32 Footsteps”, “Pencil Rain”, “Cowtown”, just to name a few of a long list of possible choices). Nonsense syllables have always been part of the Linnell and Flansburgh oeuvre and silly ideas comprise much of the extended repertoire. Even “Particle Man” is simple enough in structure to pass muster as a children’s song (albeit a strange one).

Additionally, there is the education factor (which seems to come mostly from Linnell). Many of the past songs have contained information that could be construed as educational (“Meet James Ensor”, “James K. Polk”, and “Mammal” etc.). The one prior “kid’s song” that TMBG wrote (“Why Does The Sun Shine -The Sun Is A Mass of Incandescent Gas”) has become a favorite at live shows and combines scientific facts with a catchy tune.

So a CD geared toward children is not very far-fetched at all. Rather, it seems a logical extension from what has gone before (and the multimedia factor adds to your enjoyment).
The best news is that the music, for the most part, remains melodically strong. The CD opens with “Fibber Island” a narrative description of an imaginary place you can get to by “fibbing in your mind.” It’s a silly island (night or day - as you’ll see in the visual interactive accompaniment) chock full of rubber guitars, square wheels, pies and chocolate and giraffes you can ride.

“Robot Parade” has an impressive multimedia side, wherein clicking with a mouse can launch little robots or make a giant cyborg dance and fly. It’s technology as built by and subservient to children (a powerful and tantalizing fantasy).

The title song is a detailed accounting of that negative term, its formation and applications: “Finger pointing / eyebrows low / mouth in the shape of the letter o.” The on-screen enhanced version allows one to turn blocks of NO into blocks of YES and then into tall flowers.

Next up is the enchantingly infectious “Where Do They Make Balloons?” This song, featuring vocals from bassplayer and co-writer Danny Weinkauf (of TMBG’s backup Band of Dans) takes a riff from Colin Moulding’s XTC classic “The Meeting Place” and employs it to educate about geography and commerce in a most unassuming way (“Marmalade’s from Scotland / Rugs from Pakistan / Mexico has jumping beans and cars are from Japan”). The accompanying interactive piece makes this learning painless and pleasant.

Many East Coast baby boomers will get a smile from the cover of the public service commercial theme “In The Middle, In The Middle, In The Middle,” sung wonderfully well by Robin “Goldie” Goldwasser (a/k/a Mrs. Flansburgh). You can play safely amid traffic on the interactive side here, while enjoying this fine rendition of the Vic Mizzy classic (right up there with his more famous themes for “The Addams Family” and “Green Acres” TV shows).

“Violin” really works best along with the interactive visuals. It’s another fine melody that utilizes verbal non-sequiturs as lyrics, allowing They Might Be Giants to be plenty goofy (sort of a distant cousin to “Exquisite Dead Guy”) in semi-serious fashion while getting you to click away furiously to make presidential heads appear or disappear or even to locate those pesky specks of dust. Kudos goes to guest players Garo Yellin (cello) and Krystof Witek (violin).

Nicholas Hill makes a guest appearance doing vocals on the scary “Edison Museum.” This tune, co-written by Brian Dewan, presents said museum as a haunted mansion good for quelling quarrelsome kids (say that ten times fast).

“The House At The Top Of The Tree” might be my favorite multimedia piece. This song, a circular tale of you sitting in a chair in a room in a house at the top of a tree, offers up a truly interactive challenge. You have to feed the hungry mouse the potato chips that the dog in the car drives by and deposits there in order to prevent the tree from being eaten (which in turn topples the house). Sound logical to you? In the strange alternate TMBG universe, this makes perfect sense.

The interactive fun continues with a number of short ditties. “Clap Your Hands” takes up from where a few songs from the recent Mink Car left off. It’s some fine dance-able rhythmic merriment with simple lyrical commands. “Wake Up Call” similarly trades off rhythms and sounds with no lyrics at all.

“I Am Not Your Broom” is slightly more than a minute of Linnell arguing with his broom. The broom rebels: “Another life awaits me and I’m leaving you today,” he declares and has had enough of his life of servitude. Perhaps this will teach kids to be independent, or perhaps not. Either way, it’s amusing.

“I Am A Grocery Bag” is basically another minute’s worth of a grocery list set to music (but things happen when you click on the food items).

One of the non-interactive songs here is an odd yet charming John Linnell song “Four Of Two” that trades a bit melodically on the classic “Grandfather’s Clock,” yet updates matters lyrically with the story of how a broken clock preserves hopes of love. This song literally is timeless.

Another non-interactive track “John Lee Supertaster” lets John Flansburgh flex his funk in a tale of these eclectic special folk who walk among us and are blessed with the rare power to taste things most intensely (“Every flavor explodes!”). The laid-back ballad of Flansburgh’s “Lazyhead & Sleepybones” is a lovely song about two tired friends who can’t seem to agree on anything, particular word choices.

“Bed Bed Bed” is a bedtime anthem for the newest generation. A solid thumping rhythm propels the song ahead, along with a cacophony of horns and other sounds, even a ping-pong game. You get a good visual show of it too if you play it on a Mac or PC.

“Sleepwalkers” is another Linnell track that seems to carry on from the sensibility of “Bells Are Ringing” on Factory Showroom. This time the zombies are the legion girls and boys who are sleepwalkers. This slightly off-kilter song urges us to “please don’t make any noise, cry out loud, or stamp your feet” - for god’s sake - leave the sleepwalkers undisturbed!

A short attention span will be well rewarded here (not a problem for much of today’s modern world, I bet). You get seventeen tunes in just under 34 minutes (fairly easy math there). In fact, only two songs cross that precarious 3-minute barrier - but the multimedia aspect makes short songs seem much longer (in a positive way).

NO! should be They Might Be Giants’ most marketable CD yet - as it offers sporting sights and sounds for kids of all ages. One can only wonder why they hadn’t undertaken such a project before - this is pure unadulterated fun, masterfully executed. Give it as a gift to families with young kids, or better yet, treat yourself.

Perhaps TMBG finally are getting their due - after years of being out of synch with the general populous, things are changing in this new millennium: Fox’s Malcolm In The Middle has popularized TMBG’s “Boss of Me” and a Chrysler commercial recently adopted a piece of a track from the recent Mink Car (Yeah Yeah).

This commercial acceptance is new for a group that has lived on the fringe of quirky irreverence for so long. But you know what? This marvelous “kid’s CD” should only extend their newfound influence further. Conceivably, there might be a whole new generation fanatically devoted to TMBG’s two Johns. Picture a future utopia with silly young people keen with arcane humor humming deliciously fun pop music. Would I mind such a world? The answer currently is playing on my computer’s CD drive: NO!.

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Various Artists
Lynne Me Your Ears

(Not Lame)

US Release Date: February 23, 2002

www.notlame.com

From the annals of the under appreciated, I give you Jeff Lynne, a man with talent and history enough for a whole league of musicians, yet who now seems inexplicably forgotten by a new generation. His latest studio effort, 2001’s Zoom was released as the first ELO studio album in fifteen years. An impressive collection of typical guitar-driven Jeff Lynne songs, it sounded more like The Traveling Wilburys than the heavily orchestrated Electric Light Orchestra. While critically lauded, this CD came and went without making much of a blip on the musical radar, and poor response dictated the cancellation of what was to be a big promotional tour.

Why does such a thing happen, particularly when so many deplore the current paucity of strong melodic song craft found on today’s popular airwaves? How does this man who has such a powerful and lengthy musical history seem to fall out of favor with the music-buying public? The music of the Beatles continues to prosper among a new generation of listeners, yet the songs of the man John Lennon referred to as “son of Beatles” go virtually ignored.

It is a mystery for the ages, but happily one that shall not come to rest without heated debate. For those of us eager to defend Lynne’s legacy against the ignorance of the masses, there is new ammunition afoot. Weighing heavily in favor of the man from Birmingham’s musical genius comes this new 2-disc, 32-song tribute collection entitled Lynne Me Your Ears. Friends, Romans, countrymen - this is one fine tribute.

Doug Powell has gathered a host of musicians who profess a love of Lynne’s work, and it shows in the covers they present here. Lynne Me Your Ears is an overdue celebration, an apt reminder just how good this music really is, delivered with first-class performances all around.

Lynne as singer/songwriter or producer has a distinctive sound that seems to inspire love or hate without much middle ground. After a surge of rampant popularity, there was a backlash against the type of slick overly produced sound that became his signature style. In fact the sound and the production seem almost inseparable.

From The Idle Race to The Move to ELO to a solo career and The Traveling Wilburys, Jeff Lynne has led a long and traveled musical career (not even including all the musicians he has produced, including the post-Lennon Beatles). In spite of ups and downs, popularity-wise, Lynne’s music is a legacy worth preserving. Thankfully, this homage covers most of the bases, one reason why it covers two discs’ worth of music.

A brief Lynne history has him joining a Birmingham band in 1966 (age 21) called The Nightriders who lost leader Mike Sheridan and guitarist Roy Wood (and briefly toyed with guitarist Johnny Mann, though Mann’s exit allowed for Lynne’s entrance). As an earlier Polydor contract expired, the band renamed itself The Idle Race, and soon found Lynne’s influence was a dominant force toward a more psychedelic sound. The group put out several singles and while there was nice press coverage and critical kudos, the group never really achieved much commercial success.

When Trevor Burton left The Move in 1968, Roy Wood approached Jeff Lynne to join the group. He refused; instead staying on with The Idle Race and producing a second album that featured more mainstream psychedelic pop, but again proved nothing close to a commercial hit. When Carl Wayne left The Move in 1970, Lynne received a second offer to join. Frustrated by The Idle Race’s lack of chart success, Lynne agreed to become part of The Move.

The Move became as well known for their Who-like stage antics and behavior as for music that reflected Beatlesque pop and an odd sense of humor. Even through a flurry of personnel changes, the group managed a steady output of hits, largely because of the creative dominance of Roy Wood. With the addition of Lynne to the lineup, the group became even more interesting. For the first time, Wood had another band member able to contribute songs and creative ideas.

The music became a bit more ambitious, with Lynne’s lightness serving to balance out Wood’s darker work. The arrangements and instrumentation became more complex and experimental as The Move transformed into primarily a studio band, paving the way for the orchestral artsy rock n’roll that would soon become The Electric Light Orchestra. In fact “Do Ya” (first recorded with The Move) became the transitional song between the two.

Wood proclaimed that ELO would use “I Am The Walrus” as a starting reference point, and certainly the orchestrated sounds substantiated this claim. While Wood soon departed to pursue his own artistic vision with Wizzard, ELO became Lynne’s ultimate showcase. The platinum-selling albums and hits make up the largest part of this tribute, understandably.

For the longest time, his lushly orchestrated music was in fashion (reaching the height of its popularity at roughly the same time as the disco craze), and then a backlash developed against the type of overly slick production and/or lightweight lyrical messages that were ELO’s meal ticket. By 1986, Lynne felt that ELO had reached an artistic dead end and so he stopped recording. However, he did re-emerge with a solo album years later, 1990’s Armchair Theatre that continued the signature production and sound.

Lynne saw another whole revival as an integral part of The Traveling Wilburys, as well as with his production work for others - among them, George Harrison, Tom Petty and Roy Orbison and Paul McCartney and Randy Newman - and ultimately The Beatles (“Free As A Bird” and “Real Love”). Lynne led a charmed existence of sorts, getting to work with his heroes and enjoying his musical life. While his new studio effort of last year (and accompanying tour) didn’t set the world afire, his music retains a warm place in the hearts and minds of many.

So as these many Lynne-fan/musicians set about their tasks, the question with tributes always is this: does an artist try to cover a song note for note - or does one try to present one’s own interpretation? This 2-disc compilation provides a healthy assortment of both.

Disc One leads off with some fairly faithful coverage - Bobby Sutliff and Mitch Easter’s nice and faithful rendition of the U.K. hit “10538 Overture” (great cello, Bobby!) and Earl Slick’s “Ma-Ma-Ma Belle” (featuring Michael Flatters on vocals).

Things continue to remain faithful to the well-orchestrated past with Jeffrey Foskett’s “Telephone Line.” Foskett and Walter Clevenger do an impressive job reproducing this song - no easy studio feat - in a version that has the talented Foskett doing everything aside from piano and drums.

Studio wunderkind Jason Falkner covers The Move and ELO classic “Do Ya” in a way that, like Ivory soap, is 99 and ¾ percent pure. Jason does manage to throw in just enough little Falkner-isms to make it his own, but really impresses with the way he captures the feel of the original.

Australian Ben Lee makes a nice choice with his home-studio version of the lesser known “Sweet Is The Night” off Out Of The Blue. Fellow Aussie Michael Carpenter offers up a very faithful cover of the Jeff Lynne solo tune “Every Little Thing.” Like Faulkner, Carpenter’s performance is a most impressive one-man show.

Yet perhaps the best one-man studio performance here is by project coordinator and major talent Doug Powell. His “Can’t Get It Out Of My Head” manages to capture much of the nuance and spirit that is Jeff Lynne.

The Idle Jets’ Pat Buchanan really does a more than credible cover of “Rockaria!” (again, no easy feat - and he got plenty of help from Scott Baggett), sounding very much like Lynne himself and covering all the sonic bases from guitars to strings.

Richard Barone’s “Showdown” is familiar and yet slightly different (and Barone really puts some passion into his vocals). I admire The Spongetones’ Jamie Hoover for having the cajones to cover The Traveling Wilburys’ “Handle With Care,” a song so popularly known that any cover seems destined to fail. Hoover doesn’t re-create it - instead he manages to do the song as if it were an early Beatles tune (which he does quite well, if you know his work). Purists might cry heresy, but it’s a pleasant version regardless.

Mark Helm’s emotional vocals really manage to sell this fairly faithful cover of “Strange Magic,” while Ross Rice veers further afield from the original with his dance-beat “Evil Woman.”

CD 2 leads off with a very wonderful “Twilight” from The Shazam (a band named after The Move’s album), a song that the band has adopted as their personal road tour theme song. Producer Tony Visconti (who once turned down an offer to play keyboards from Jeff Lynne and Roy Wood) then re-interprets “Mr. Blue Sky” for the new millennium, with Richard Barone speaking his way through the first verse, and a sonically updated rest of the song that features wonderful bass lines. This new version really grows on you in a most positive way. Don’t be surprised if you come to favor it over the original.

The Heavy Blinkers deliver a somewhat reserved vocal on the mid-tempo “You Took My Breath Away” (oft sounding more bored than excited). This version sounds like a mid-sixties chanteuse song (a la Petula Clark or Dusty Springfield).

It’s not ancient history when The Move’s “Message From The Country” is done justice by The Balls Of France (Doug Powell, Jerry Chamberlain and Sharon McCall), but for those unfamiliar with Lynne pre-ELO, you get a real sense of how Lynne knew early on just exactly what he was doing, and how good the music was even then. Further evidence is presented by Ferenzik’s cover of “The Minister”, also from that same period.

Perhaps the most unusual cover here is The Move’s “No Time” by Peter Holsapple (another one-man show). This early gem might take a few listens to get used to, but the effort is well worth it. Going back even earlier is “Morning Sunshine” from The Idle Races days, covered here by Jeremy in a manner that really transforms the song into an ELO-type number, particularly with standout guitar.

“Xanadu” (not a personal favorite - lots of bad memories trying to escape Olivia Newton-John’s version) makes its disco rhythms less perturbing in this new version from Neilson Hubbard and Venus Hum’s Annette Strean.

Another lesser-known surprise is Bill Lloyd and Hans Rotenberry’s version of the ELO B-Side “When Time Stood Still”. This song has a real Lennon melancholy to it, and is haunting in the best of ways.

The rock button gets turned up by SparkleJets*UK and the tandem of Michael Simmons and Susan West with a great “Above The Clouds”. Simmons is a long-term Lynne fan, and his love for the music shows here. Walter Clevenger and The Dairy Kings do a straight cover of “Rock And Roll Is King” minus the vocal echoes, and the end result has a pleasant rockabilly feel.

Rick Altizer’s “Boy Blue” definitely is one of my personal favorites here. The talented Altizer puts his own upbeat spin on this Eldorado-era song, and while homage is paid, a new classic emerges.

PFR does a laudable job of covering “Livin’ Thing,” offering up a version that’s true and yet different. They tone down the familiar sonic guitars and add in an organ twist that moves the song into a different era. Purists may balk, but the song remains well served.

The incredible fact is that many younger listeners may not be familiar with the originals. Lynne could write some beautiful music - Sixpence None The Richer’s Leigh Nash captures that beauty when covering “On The Run.” Perhaps it’s something about the female voice that really points out the graceful charm of these songs, as with Fleming and John’s cover of the wistful “Eldorado”.

Yet Carl Wayne (whose exit from The Move allowed Jeff Lynne into the group) does manage also to capture the beauty with his dramatic impassioned “Steppin’ Out.” Perhaps the prettiest song here is “One Summer Dream” as done by Prairie Sons And Daughter (Prairie Prince and Diana Managano and Gary Cambra and Mark Rennick).

In the more obscure category (nice that they’re mixed in with the hits) is Todd Rundgren’s lounge-like cover of “Bluebird Is Dead.” Rundgren uses falsetto tones, synthesizer riffs and great percussion to deliver this one - in a way that does equal tribute to both Lynne’s and Rundgren’s talents (as writer; as studio whiz).

Roger Klug (another long-time Lynne admirer since the early ELO days) turns in a great guitar-driven cover of “Turn To Stone” that would make Jeff Lynne smile proudly. Swag turns in a fun “Don’t Bring Me Down” that features revolving vocal turns.

There are several nice things about this particular collection. For one, you get to hear many of these songs as if for the first time. Lynne often was of the mind that you could never over-produce something - he often tried loading the songs with as much sound and orchestration as possible. As a result, a lot of the stuff got compressed into a sonically busy middle. Now, with greater technology available (as well as many new interpretations), you often get to experience more of the complete song that Lynne wrote - with highs and lows and (dare I say it) even the occasional stripped-down arrangement.

In addition, this also provides a wonderful showcase for the many artists involved - with Powell leading the way. If you’re not familiar with any of them and you enjoy their Lynne tribute songs, I strongly urge you to explore further. These are some of the best independent musicians and producers working today - your interest will be well rewarded.

There’s soul in the music of Lynne - and his influence extends in ways that make it hard to measure. While there’s no guarantee that each and every favorite Jeff Lynne song is covered here, Doug Powell and the gang at Not Lame have assembled a pretty comprehensive collection, and have put their hearts into their performances. Additionally, ELO fan Rob Caiger writes the liner notes, and notes on each song provide reference to the original version.

Jeff Lynne once said “I’m a songwriter - and you can be that forever.” This tribute and its 32 tracks prove that statement over and over again. When one considers how the public seems blissfully unaware of this wonderful music and how Sony currently is delaying (and possibly abandoning) the promised remastering of the entire ELO catalogue, you owe it to yourself to discover or re-discover its charms through these other artists’ performances.

Enjoy this great collection. Let’s make Lynne Me Your Ears the start of a groundswell to make Jeff Lynne “in”. Sing along and sing loudly - the talented man with the incredible ‘fro deserves your support

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