Scroll down for reviews of the latest from Tom Hooper, Saul Zonana, OK Go, Andrea Perry and The Vinyl Kings

The Orgone Box
Things That Happened Then

(Minus Zero Records)

Release Date: September, 2002

www.minuszerorecords.com

One of last year’s best stories involved the re-discovery of the music of Rick Corcoran as The Orgone Box (by Bill Forsyth of London’s Minus Zero Records). That great D.I.Y. psych-pop masterpiece handily made my top ten of 2001, but left me wondering what was next. After all, that great music was from 1995 - I couldn’t wait to hear what Corcoran had been up to since then.

While an exciting new release from The Orgone Box has arrived, my questions shall yet remain unanswered. To my surprise, this follow-up to that 1995 release again looks backward. This is a collection of fourteen unreleased Corcoran songs originally recorded between 1990-1995. I suppose it does make sense after all -- out with the old before ringing in the new.

As with any collection of older and unpublished material, it begs the question - why? One first makes the assumption that this must be lesser quality, a collection of Corcoran’s castaways, so to speak. However, this is not the case. I can’t speak as to why this music hasn’t made it to disc previously, but I can vouch for its high quality - if this is Corcoran’s slush pile, it still trumps many other artists’ best efforts.

Things That Happened Then manages to provide both more and less than its predecessor. It is a solid listen, delivering nearly one full hour’s worth of entertaining musical tracks. However, it lacks some of the studio polish of the first disc, as most of these songs were recorded on 4 tracks (though some have been bounced to 8-tracks and punched-up with extra enhancements).

Still, Corcoran retains a magic touch for producing melodic pop classics that convincingly capture the sonic jangle of the mid-to-late 1960s era, only informed and updated by the modern man behind the tunes. While some of these songs are merely demos (and others are more fully realized), this is well structured psychedelic Brit pop with incredible guitar sounds. On the whole, it manages to transcend the aural limits of low fidelity through the sheer strength of its songwriting ideas.

With this set, Corcoran proves that the first Orgone Box collection was no fluke. Even without the finished luster and dynamics, these songs will take up residence in your head for many days to come, subtly working their way into your subconscious.

“Last Ride On The Jets” has more of that great guitar, fine bass and wonderful fills that seem second nature to Corcoran. This is a lyrical call to one and all to feel life to the fullest (“I don’t want to be a passionless bystander bored to tears with my own life”), even if it’s not always pleasant (“I need sad sad sad / it gives me identity”). The sound effects were gotten off the radio and TV; Martin Sheen adds narration to the middle 8 from Apocalypse Now.

“Just Like A Woman” is the one studio track of this collection, co-produced with the late Gus Dudgeon after Corcoran’s Orange had broken up. This delicate and infectious ballad dates back to the late 1980s (according to Corcoran), a slower-tempo love song to that one special woman and her whims and moods, etc. Corcoran’s vocals (particularly the “Oh, and…” leading into the middle bridge) are very Beatle-esque.

“Everybody’s A Star” opens with a thick psychedelic riff (reminding me something of The Dukes of Stratosphear’s “Mole of the Ministry”), yet transitions into another melody (in typical complex Orgone Box song structure style). It’s a song all about the fantasies of youth and the desire to be more, executed well by Corcoran who manages to weave a great tapestry between guitars, lead and backing vocals.

When you hear “Hard For Me,” you’ll be convinced that Corcoran channeled the spirit of a young John Lennon. This is The Orgone Box as mid-era Beatles, no question, a pretty pop love song originally recorded on 4-tracks, then bounced to 8 with additional acoustic guitar, tambourine, harmony vocal and harmonica added.

It amazes me what Corcoran achieves with limited tracks here. Another Beatle nod is found in “All The Losers,” wherein Revolver-era guitars swirl and fill the spaces between the harmonies. It’s a full sonic experience that takes on class distinctions achieved with only tracks of two guitars, bass and drums.

There’s no shortage of love songs here, and Corcoran serves up another pleasant 4-tracker with “Wonderful Mind,” a testament to the cerebral aspect of his overwhelming feeling (“such a wonderful mind / I love the soul out of you”). Spare bongo percussion gives this one a bit of an Eastern flair.

Corcoran claims the title track is “one of the first good songs I ever wrote.” It opens with dramatic chimes of the guitar, appropriately leading in to a highly emotional personal tale about memories of parents fighting and the feeling of wanting to “runaway forever” in response, how such memories change you for a lifetime. “Things That Happened Then” is another great one.

Byrds-like guitars and a powerful bass that seems to have a life of its own limn the edges of another superb 4-tracker, “Cheerfully Hopeless.” This is song as explanation, sung in the wake of hurting someone he loves the morning after: “I’d rather be predictable and boring than someone who could hurt you / all I really need is you to understand me / you’re the only one who can.” Another personal “bare it all” lyric, comfortably ensconced within tuneful surroundings.

One older song recorded on 8 tracks (with guitars and vocals added in only last year) is the haunting ballad “Mom I Can Fly.” This musical suicidal confession of an inability to cope actually is based on how people used to jump off the Kelvin high-rise flats in Sheffield.

The more upbeat “Hello Wonderland” dates back to the time when Corcoran was a member of the Green Tambourines. This is the related thrill of moving with a band to the big city of London, complete with shimmering guitars.

Recessed vocals, heavy on the reverb dominate “Bestbird,” a song with guitars that seem more out of the 1980s or 1990s, relating a drive to better one’s self in the interest of getting and obtaining the elusive “best bird in town.” “Storytime” has a sort of “Norwegian Wood” feel to its verses, and could pass for a John Lennon demo from years ago. Unusual elements included here are a voice saying “one two three, coming ready or not” and a music box rendition of “How Much Is That Doggy In The Window.”

A moodier contemplative Corcoran is found on the track “Barbican,” bemoaning some bad experiences, one being a trip to Brighton to meet up with a friend who was opening for Procol Harum. Corcoran gets some amazing sounds by playing a Casio through his guitar pedals, but I particularly like how he takes a certain vindictive epithet and makes it sound positively endearing (no “fook”).

The CD closes with another catchy mid-tempo number “Life Happening,” a song raging against the daily grind that asks for life to be more fun, rather than “something to just do.” Corcoran as The Orgone Box has a knack for making new from the old, and making it sound completely genuine in the process. With Things That Happened Then he delivers on his debut’s promise with another astounding collection of psychedelic Brit-pop of the highest order. Fans of Revolver-era Beatles or the likes of Cotton Mather will be favorably disposed toward this one as well.

Corcoran manages to get a lot out of his songs, regardless of how many tracks are at his disposal. He obviously excels at writing (and performing) well-crafted melodies and isn’t afraid to let his lyrics get personal and revealing. If these are his early songs, one can only imagine the grandeur of the hypothetical progression since. So come on Rick - please let us hear what you’ve been writing since 1995, okay? Inquiring pop minds are more than eager to know.

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Tom Hooper
The Unexplored Cosmos

(Bullseye Records)

Release Date: April 23, 2002

www.bullseyecanada.com

The Grapes of Wrath’s four albums between 1986 and1991 delivered some of the finest introspective folk/rock music ever. Some songs offered up quiet guitar that hearkened back to the likes of Fairport Convention and other folk rockers, other songs offered up piano-based music that seemed Traffic-like, and yet other songs served up rock and jangle that called to mind more of a R.E.M. or Byrds or Beatles feel. The key was a sort of quiet reflection, with mood and atmosphere pervading the proceedings.

Formed in the early eighties with a nucleus of Hooper brothers Tom (bass) and Chris (drums) and Kevin Kane (vocals/guitar), Grapes of Wrath achieved success in their native Canada, landing numerous radio hits at the time. When personal and creative differences between Kane and Tom Hooper resulted in a parting of the ways, the remaining three band members (including keyboardist Vincent Jones) joined together and put out two subsequent CDs as Ginger (1994’s Far Out and 1996’s Suddenly I Came To My Senses). The music of Ginger continued the sound and tradition of The Grapes of Wrath, as Tom Hooper now became the sole creative force writing the music.

In 2000, a new century invited a new beginning as Kevin Kane and Tom Hooper put their differences aside and reformed The Grapes of Wrath (as a trio with new drummer Matt Brain) for a new CD (Field Trip) and a brief tour. The reunion, while pleasant, didn’t rediscover any magic - both men had grown apart, and when the band’s label crashed, that was it for the new Grapes of Wrath.

Afterwards, Hooper headed back to his home on Saltspring Island off British Columbia and started recording some solo material and demos. He sent one along to Bullseye Records who signed him to what has become The Unexplored Cosmos, the next solo step in what has been a most productive career.

Now the whole group is Hooper (though brother Chris does drums on most tracks), and it’s something he’s wanted to do for a long time coming. “I really enjoy working alone,” confesses Hooper, “I’m a bit of a loner anyways.” He noticed how often past songs got watered down with all the compromising and group decisions of a full band.

Hooper serves up a dozen songs here, including a few reworked from the last Grapes of Wrath CD (“Sell The Goat” and “Hitchhiker”) and one that dates back to the last Ginger CD (“Same Old Me”).

The CD opens with “Running Out Of Time,” a mid-tempo number with strong bass that urges for hanging on and doing what’s right: “If it’s gone then what’s to miss, let’s not get all the way and make new promises / we had a dream sealed with a kiss and now we have to find another way to live.”

“Same Old Me” is the first single from the CD. Again, a strong bass line drives the percussion and melody, while slightly recessed vocals work to garner your attention in a song about pleading against a lover’s exit to a far away place: “I don’t want you to leave, say you won’t go / I try to be the same old me, I hear your sorrows, fill your needs / I’ll do the dishes so maybe one day you’ll want me back with you again.”

Perhaps the most infectious cut here is “Cardboard Man,” a song that gradually builds into the discovery and promise of unexpected love after one thought it was all over: “If you were mine I would make you feel no one else is real / give me a sign, I would leave this stand where I’ve waited here for you / I was melting in the rain, I was fading in the sun / I thought that I was done, but maybe you’re the one.”

Hooper ventures into psychedelic territory with “Try To Believe Me,” a pretty and atmospheric song that, true to its musical roots, asks for honesty and open speech (“but try to believe me / no, life’s never easy”).

“Fade Away” starts with a pleasant acoustic guitar that leads into a song that takes little time segments verse by verse as time fades away, first about approaching intimacy, then about leaving the relationship, promising to write and then thinking back about possible anger (never having written).

Hooper gives us banjo as background flavor in the preaching yet pleasant “Sell The Goat,” wherein a friend tries to change another’s mind: “Sell the goat, build your fortunes, you / spare the load, pass the buck, you choose / to buy your love, it all reflects on you.”

An unexpected treat here (and the only cover) is Hooper’s faithful rendition of George Harrison’s “Long Long Long.” Not only is this a poignant tribute, it serves to remind us all of the great treasures George left behind - this is a hauntingly beautiful song and much overlooked.

Hooper employs lots of different arrangements and instruments in a subtle yet effective way. This is most apparent after several listens. “Souvenir” uses piano and phasing effects to heighten its somewhat eclectic poetic lyrics: “The situation / imagination / there’s no excuse, it’s instantly a game / The conversation / the combination / I tell the truth/ my feelings still remain.”

While Hooper writes music that grows and shows itself over time, he also manages to convey great stories with his words. “Distant World” tells a wonderful tale of a third wheel who wishes he were the main player, instead of the friendly “go-to” guy. Still, he remains the close friend in the distant world, so close and yet so far. Hooper’s graceful song captures the frustration of the situation perfectly.

In “Hitchhiker,” Hooper tells of the difficulties of escaping from one’s self: “Checking out tonight / turn myself off for a while / I can leave my thoughts behind or so I thought until I realized / Anyone can tell you, anyone can see, anyone can notice that I’m dying here.”

Hooper’s background as bass player leads to some fine songwriting. Check out the great bass line in the soulful “Try Too Hard,” a spare and slower arrangement that sets a bluesy mood. Repetition of musical phrasings becomes almost hypnotic in “Sleepy Dream” and manages to hide the lyrical facts - this is a nightmare about drowning.

Recorded mostly in Randy Bachman’s studio, these twelve songs are a real treat for any fans of The Grapes of Wrath or Ginger and then some. Hooper knows that his quietly reflective “thinking man’s music” is not likely to take the current Canadian music scene by storm, but he’s not overly concerned. He seems happy with the music he’s created, and knows that’s what matters even more so than sales (not that he wouldn’t mind selling lots). This is a CD that is subtle and special - if you have time for Tom Hooper, he’ll show you the wonders contained within The Unexplored Cosmos.

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Saul Zonana
Guinea Pigs

(20/20 Music)

Release Date: July 2, 2002

www.saulzonana.com

It’s no surprise that there is a bounty of talented good musicians out there, working the clubs, recording music and not garnering any sort of major acclaim for their efforts. As such, it’s a fair bet you’ve not heard the music of Saul Zonana, even though his music merits attention.

Guinea Pigs is the sophomore effort from the New York-based multi-instrumentalist singer/songwriter. Few realize that guinea pig babies are born as miniature adults, fully furred, eyes open, able to run around within an hour after birth. In the same way, Zonana arrives on the scene ready to claim his place with the pros - the sound and musicianship is as professional as you’ll find - no amateur hour here.

Of course, Zonana is not a stranger to the music biz - primarily having played bass and written songs with many bands over the years (perhaps most notably with the group Luv Junkies who released Smudge in 1997). More recently, he was part of Ace Freley’s band, and produced tracks for him as well. As a writer and producer, he has worked with the likes of Taylor Dane and Paula Cole (and has co-written and produced an upcoming album with Nicole McKenna).

Playing guitar since age seven, Zonana later attained proficiency on the bass and keyboards. Still, his strongest suit remains a pleasant voice that, at times, has the sort of rasp and timbre of a Don Henley (check out the vocals on “Afraid of Dying” and/or “So Much Better” - though this isn’t Henley-type music). It’s the kind of voice that commands attention, emotive and perfect for the type of pop/rock that Zonana delivers.

In the ten songs on Guinea Pigs, Zonana offers up a wide selection of moods and styles, ably backed by strong musicians (most of whom will be supporting Zonana’s CD in live performances). The supporting team is comprised of Jack Petruzzelli (guitar, keyboards, vocals), Andrew Carillo (guitar), Tom Hammer (keyboards), Kevin Jenkins (bass), Dave Johnson (drums) and Kevin Hupp (drums, percussion).

The CD opens with the strongest track and targeted single “Bette,” a wonderfully infectious classic of a pop/rock tune that is married to lyrics about a modern romance between a man and his inflatable doll who never lets him down: “Her name is Bette and she tides me over / Inflates and then I’m her Casanova / And truly Bette helps me get you off of my mind.” I particularly like the vocal hook toward the song’s end.

“Fool On A Bicycle” is more modern rock, a bit heavier on the instrumental production and layered guitars, pitting soulful vocals and bass together on the quieter verses and building to the choruses. In this radio ready tune, Zonana tries making lyrical sense of a traumatized world gone awry since the events of a year ago - and chooses to flee his own special way: “Innocence is gone and we’re moving on / Earth’s a new place / Nothing’s certain now, riding anyhow / I set my own pace / All the way to the moon on a bicycle / I’ll be there soon, you’ll see / They call me the fool on a bicycle / but I know where I’m going, do you?”

While Zonana seems to prefer the tuneful melodic rock that seems so out of vogue now, he is capable of a wide range of style and shows this to good advantage here. The upbeat tracks “All Together Now” and “Riled” sound like they could be at home on any CD of the sound-alike modern rock groups that currently manage to infiltrate major radio markets, while Zonana’s voice sets them apart.

The touching “Joel’s Song” is a memorial tribute to Saul’s older brother, while the ballad “The Same” might be the prettiest offering, Zonana’s soulful vocal styling offering a soft argument against change.

Toward the latter part of the CD, Zonana finds more of his funk/soul mojo, with vocals that seem to serve up more emotion than the words being sung. “Pour” has a great jazzy bass line propelling it forward, telling the tale of a mystery chase in a dream world where reality is too much.

This self-produced CD on Zonana’s own 20/20 music label was recorded largely in his professional home studio, and mixed/engineered with the help of Peter Moshay (Hall & Oates, Paula Abdul, Mariah Carey). The production is impressively clean and professional, full and dynamic with effects employed as needed, though never overdone.

The young but prolific Zonana (already laying claim to having penned hundreds of songs) emerges like a guinea pig, a real musician arriving on the scene knowledgeable and ready to run. Whether Zonana’s melodic rock can find a home in today’s musical world remains to be seen, but Guinea Pigs is an impressive exhibition of his songwriting talents, putting his expressive voice alongside a fine supporting band to good effect.

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OK GO
OK GO

(Capitol)

Release Date: September 17, 2002

www.okgo.net

Take some smart guys a la Weezer, mix in a little bit of The Cars, add in some organic elements of J.Geils Band, stir in a dash of Cheap Trick flavor and let it all cook with tunes that are fun to hear, and you’ve got the dish on up-and-coming rockers OK GO. On their self-titled debut, these four guys out of Chicago seek to make music that is fun without being overly silly, intelligent without being too self-important. Will this new music set the world on its ear? No, but that’s beside the point. This is radio-ready enjoyable music -- mission accomplished.

OK GO exude youthful exuberance tempered with rock smarts, unpretentiously nice melodic tunes that seem a musical cut above the garage-rock revival flavors of the month (you know who they are). One hopes the world’s music-purchasing youth sit up and take some notice. OK GO does stand a chance; being on a major label and touring around opening for the likes of Elliott Smith, The Vines, Phantom Planet, They Might Be Giants, Promise Ring and Superdrag might help spread the good word.

Damian Kulash, Jr., the lead singer and guitarist who wrote or collaborated on all of the songs, helms the quartet. This former semiotics major at Brown University actually met bass player Tim Nordwind at summer camp. The two pre-teens formed a band called The Greased Ferrets. Later in high school they met Andy Duncan, who plays keyboards and guitar, while drummer Dan Knopka was a college acquaintance. In 1999, the foursome became one as OK GO.

The CD opens with the infectious, and therefore obvious single “Get Over It,” a great bit of melodic celebration with Billy Squier- or Queen-type handclaps and J. Geils Band “Centerfold”-era organ. The accompanying video directed by Francis Lawrence (Garbage, Nelly Furtado, Incubus) captures a bit of the self-deprecating humor of Kulash and company (I particularly like the table tennis interlude that breaks up the guitar lead in mid-song).

Lyrically, this is a simple yet scathing censure of our societal habit of playing the blame game: “It’s such a drag, what a chore / Oh, your wounds are full of salt / Everything’s a stress and what’s more / Well it’s all somebody’s fault.”

“Don’t Ask Me” is another upbeat bit of pop that clocks in at under three minutes, featuring octave-apart double vocals on the verses and some nice harmonies on the chorus, a laying out of the social rules for future meetings, the first of which remains “Don’t ask me where I’ve been.”

Kulash can take those handclaps and have them intro all manner of catchiness. “You’re So Damn Hot” (with organ hook here that’s more Cars than J.Geils Band) tells the unrequited object of desire how her clothes give away her real motives (“you don’t love me at all; so who’s this other guy you’ve got, etc.”).

“What To Do” takes on one who has opted for political action and cause-related activity and exposes her righteous emptiness: “e.g., compassion’s just a nicer way of looking down your nose.” The chorus is a harmony-filled indictment: “What to do? / Sweetheart, you’ll find / Mediocre people do exceptional things all the time / Oh, the ruin will do in your talented mind / Could’ve been a genius if you’d had an axe to grind.” Delicious bells serve to highlight the song’s melody and there’s also a great middle lead.

While the music skillfully evokes retro rock in a modern way, Kulash manages to do things with his subtle yet poetic words. “1000 Miles Per Hour” captures the ennui of a protracted relationship and offers up suggestions of flight as easy solution. “Shortly Before The End” asks for a departing song sung at the end of something - a relationship or perhaps even a life.

Such serious material continues on with the elder somber perspective of “Return,” which takes on the fading distant memory of one long ago lost while musically more of a modern anthem rocker. Kulash’s words are spare, well chosen and effective: “For a while, with the vertigo cured / We were alive, we were pure / The world took the shape of all that you were / But years take their toll, and things get bent into shape / Antiseptic and tired, I can’t remember your face.”

Kulash knows words can be difficult. There’s a musical wink to The Cure with his “There’s A Fire,” wherein the communication problem sheds doubt on the urgency of the title message, a la the boy who cried wolf (“I never say quite what I mean / And never mean quite what I say”). “C-C-C-Cinnamon Lips” takes the catchy hand-clapping music toward the new direction of “girl band” (the fine female vocals are not credited here, alas).

“Hello My Treacherous Friends” builds slowly on strong bass, reminding us that we can learn much from our enemies. “Bye Bye Baby” allows the group to put great harmonies on display, adorning the edges of yet another wonderful Kulash tune, as a would-be love walks out the door to pursue Hollywood dreams.

Allegedly, the band recorded what was to have been their first album, then scrapped the whole thing and started over. That first effort was arty and self-conscious, whereas the dozen songs here are anything but - they are well crafted and flow easily. There is drama and range yet in what has made it to disc, and the musical talents are evident on each and every track. These guys know their rock, and come to the scene confident and ready to have fun.

What might at first listen sound to be merely summer radio fare turns out to be a whole lot more with OK GO. Kulash and company can show you a good time, but they also stand up to closer listening over time, with musical nuances and slick production and oft-surprising lyrics. OK GO is an impressive debut from a playful group that leaves one eager for what comes next

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Andrea Perry
Two

(Trust Issue Records)

Release Date: July 1, 2002

www.andreaperry.com

Objectivity is a difficult task, made even more so when fondness for an artist might cloud one’s perspective. Still, I am compelled to gush when speaking the praises of the chronically shy Andrea Perry, who might be one of the most pleasant musical surprises to come my way in many a moon.

Two is the aptly titled sophomore effort from the multi-talented Perry, who delivers again on the promise first heard on her debut Saturday Morning Sweet Shoppe with a dozen newly intriguing musical gems. Perry’s complex rhythms and deceptively spare arrangements fall a refreshingly far distance from the mainstream. Her soft voice lulls you with its sweetness, at times hiding the swirl of inner portent her lyrics convey.

This is smart, quirky pop with a difference that appeals even more because of that difference. In addition, Andrea Perry is a natural in adding just the right amount of nuance and musical texture - you get a voice slide here, an unexpected guitar fill there, even a xylophone when necessary.

Perry knows how to structure songs. She has wonderful middle bridges, and never overstays her welcome (the longest song here is 4:28). She gets to the point and marries the music, its rhythms and its words. Her songwriting talents are only half the story here - as a performer she excels, whether on guitar or keyboards or bass or vocals (and believe me, she uses vocals as another instrument). The only thing she doesn’t play is drums, and those are ably handled by the masterful Chris Searles.

Spending her formative years in Austin, Texas as the daughter of two accomplished pianists, Perry grew up in a musical household (mostly classical, although the Beatles and some Danny Kaye children’s albums also made the cut). Piano lessons didn’t go well for her, the result of laziness and/or a learning disability. This, coupled with horrible stage fright and the rationale that the Beatles had had no formal piano training, led to quitting. Instead, she played the way she wanted to, deciding by age 10 that she wanted to write songs and make records.

As she grew older she went from a love of radio and its “top 40” music to a devotion to the album rock of The Clash, Talking Heads, David Bowie, Lou Reed, The Police, and The Pretenders and then onto classic rock radio through the remainder of high school. After graduation, Ms. Perry began to make her first 4-track recordings, and solidified a conviction that this was what she wanted to do with her life.

Her college career was peppered with musical milestones (University of Southern California - gets first keyboard; Hampshire College - gets a Strat and eventually learns to play guitar). She joined a band (The Ice Weasels) as keyboardist, along with Paul Melancon, Aaron Tucker, Montgomery Knott, Peter Altman and the late Billy Greene (to whose memory this new CD is dedicated).

After college, Perry convinced Tucker, Knott and Altman to join her in testing Austin’s thriving music scene. With new drummer Mike McElhaney rounding out the roster, the band Wax Elephant developed a strong following in the early 90s, but ultimately broke up. Since then, Ms. Perry found work writing for video games and CD-ROMs, and learned to play the bass, all of which has helped sharpen her creativity en route to this more recent solo career.

Two opens with the misleading cheery bounce of bass and piano that helms “Bursting Through The Clouds.” It’s really more a plea for better times in the midst of dreary weather, everlasting rain and repetitious lonely days. Perry’s sunny voice and surprising counter-harmonies handles it with aplomb: “Blown about in darkness / lost forevermore / I don’t know what’s behind me and I can’t tell what’s in store / I just long to see the sun bursting through the clouds.”

Perry’s use of unusual rhythms and complex song structure often conjures up understandable comparisons to XTC and Sugarplastic. Yet Perry at times runs even more contrary to expectations. For instance, strong bass propels the slightly jazzy funk of “Oh No! The Day Is Dawning,” which at first seems more of a nightmare warning against some type of Armageddon, a call to watch one’s back, slip out, protect one’s self. Suddenly, near song’s end, it’s as if someone has let the air out of this balloon - the song shifts gears as simple voice and organ declare the refrain “I’ve come to treat you well / now that we live in the same hotel.”

Sometimes her rhythms dominate the songs, as if the feel of the words convey more than the words themselves. Such is the case with “Time To Say Hello,” which is a primer in how bass lines can dominate a song effectively. The bass walks down as Perry says “I know that you’re ready, I know that you’re fine” and the catchy chorus reiterates the title.
Similar is what Perry does with the short song “I Think Of Nothing” - complex rhythms and countering guitar serve as equal partners to the conflict of the words (“find me a way to turn far away from you / I think of nothing but you as nothing”). In both of these examples, what could be a simple song is not - extra touches, voices, sounds all complement the whole in a very impressive way.

The stutter-step energy of “Make the World Go ‘Round” is as close as Perry gets to a traditional love song, a lament about lost love and wanting it fixed: “Losing you by leaps and bounds / your goo goo eyes are daggers now / And “I love you” is just a sound / day upon day / Slow to anchor, quick to fly / don’t know what you’re afflicted by / You close me off I don’t know why / you turn away.” Her vocal work is impressive here.

A most infectious melody is at the heart of the pretty yet bittersweet “You Broke The Spell,” another farewell in the face of a failure, realizing “all the money in the world won’t put it back together now.”

Influences that were apparent on her first CD seem to have been joined by new ones (e.g., some Kate Bush in Perry’s “Slide Out”). In particular, the song “Bye Bye” sounds as if it could have been sung years ago by the heralded pop chanteuse/songwriter Margo Guryan.

A snare drum leads the parade of sounds and different textures (including xylophone) that comprise the enjoyable treat of “Light Up The Underworld,” a call for magical protection before major party time. “Getting’ To Know You” is another unique Perry twist on conventional love songs.

Just when you think Perry is all about cleverness, she floors you with a gorgeous song of enormous emotional power. Such is the case with “All Alone,” a quiet confession of being ripped apart inside and out that is perfectly captured: “I don’t think I’m gonna sleep for awhile / I was thinking about the way you waved goodbye” and “I guess my skin will thicken, my heart will harden, the pain will soften, but now I can’t imagine / all alone.”
Similarly, the piano-driven song “Higher” is another quiet reflective gem.

The closer “Across The Water” shows that Perry’s lack of piano lessons hasn’t hurt much in the long haul. This is a beautiful song of piano and organ (a la Procol Harum) and expressive vocals that starts slowly, but builds a head of steam as it closes out the proceedings.

I can’t say enough about the inimitable Andrea Perry. Her songs have an honesty and confidence, her words are evocative, she is calculating and precise in her arrangements and production (Andy Sharp helped with the mixing), and she performs well on each instrument track after track.

There is not a bad song here (nor was there on her first CD) and the complexity of the songs demand repeated listens. While stage fright continues to prevent her from developing a following through live performances, this quirky perfectionist of a singer/songwriter deserves a larger audience.

My suggestion to you: go to her website and sample some of these wonderful tunes. She’s different from most - hear if you like that difference. I know I do. Andrea Perry’s Two remains uniquely original at a time when legions of soundalikes seem to rule the media airwaves. And while my objectivity might be a little skewed, viva la difference!

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Vinyl Kings
A Little Trip

(Vinyl King Records)

Release Date: September 22, 2002

www.vinylkings.com

Lord Have Mersey!

Musical grazing is never so dangerous as when one treads the pastures of the sacred cows. You’ll never encounter more resistance and grumbling than when you take on the sacrosanct fab four, even lovingly. This is the oracle, the holy pop mother lode from which so much has followed, and the Vinyl Kings are well aware of it. The seven veteran studio musicians take great care up front to make known that this is just a musical thank you, a project of fun, born of love and respect.

Such is the message clearly laid out to Paul, Ringo, John & George (and George Martin too) on the sleeve of the CD: “It is important that you know that The Beatles and the time in which the band existed were, for all of us, the gift of inspiration that drove us to a life of music. In its own way this album is our reconnection to that gift, that spark, that desire and love.”

And while many may balk at the way much of the music comprising these 13 “new” songs is borrowed, most will find that A Little Trip is one worth taking. This is a different take on matters than that of Neil Innes and The Rutles, who did a masterful job of re-interpreting the original music in the tongue-in-cheek spirit of intelligent parody. It also differs from the stylistic retro collections of Utopia’s Deface The Music or XTC as the Dukes of Stratosphear, or even the Beatles-inspired discs of such groups as The Spongetones.

This is all of that and yet something different, invested with the warmth and spirit of the originals, with great pains taken to getting the details just right. My suggestion is to skip the “homage versus larceny” issue and let the music be your guide. For many Beatle-maniacs, this offers 37-plus minutes of manna from heaven, a respectful reminder of all that was translated through some very talented musicians. While nothing can take the place of the originals, this is (to paraphrase that old stage production of yore) “an incredible simulation”.

As with any such undertaking, half the fun is in locating the musical reference points. A Little Trip gives you plenty of that. Five of the seven Vinyl Kings have contributed to the songwriting, which gives this collection a nice variety of different Lennon/McCartney and Harrison styles. Another smart thing is that they’ve kept the songs short (as many of the originals were); only one song here breaks the four-minute mark. As a result, these songs don’t overstay their welcome. They come, entice and leave you wanting more.

Josh Leo’s title song appropriately arrives out of screaming audience noise, opening the proceedings with the whimsical tale of a 10-year old who, watching the Beatles on Ed Sullivan, finds his calling in rock n’ roll. Musically there’s a little “Got To Get You Into My Life”, with some “Penny Lane” horn and bell-ringing and even some “Day In The Life” string progression thrown in for good measure (see how many additional references you can find). In general, you get nicely executed harmonies and a hint of what’s yet to come.

With “I Took A Chance” (Photoglo/Leo), you get the real sense of what this project is about. Working off a guitar intro that recalls the Beatle treatment of Buddy Holly & The Crickets’ “Words of Love”, the song also evokes many other early Beatle classics. This is an effective clone; the middle bridge and lead really capture the whole 1960s love song genre.

Similarly, “Don’t Worry ‘Bout Me” (Stinson/Lee) comes at the past with more of a Lennon edge, including the fuzzy bass of a “Think For Yourself” (along with plenty of Harrison guitar riffs thrown into the mix). Part of the enjoyment is in hearing how well the sounds are captured and performed - the other part is in trying to see how many sounds you can identify.

“Here We Go Again” is a ringer for the soft, pretty, melodic McCartney songs of way back when (e.g. “Mother Nature’s Son”), complete with tastefully assembled strings. The lyrics are simplistic enough (which one could contend well suits the McCartney side of things), but what really makes these songs work is the music, the guitar sounds, the harmonies, the drumming, the subtle mix and production and particularly, the bass.

Where most Beatle wannabes fall apart is in their failure to meet the challenge of McCartney’s bass lines. Thankfully, that is not the case here as Michael Rhodes (one of the non-writers on this project) obtains some great fat bass and manages to do justice to the Macca sound. Rhodes is a veteran of the studio, having played with the likes of Steve Winwood, Vince Gill, Etta James, Peter Frampton, John Fogerty, Shawn Colwin and Bob Segar.

The idea for The Vinyl Kings developed during a 1986 national tour for Jimmy Buffett (talk about unlikely scenarios). Larry Lee and fellow “Coral Reefers” Josh Leo and Vince Melamed became friends and envisioned what finally has been captured on disc these many years later.

Lee is perhaps best known as the former lead singer and songwriter for the Ozark Mountain Daredevils, recording 8 albums with the group from 1975-1982. Since then, he has lent his voice to a number of projects (with the like of Rita Coolidge, Buffett and the late Hoyt Axton). More recently, Lee’s taken to the production end of things, working with artists like Alabama, Restless Heart, K.T. Oslin and Juice Newton.

Josh Leo is another former touring guitarist (Buffet, Glenn Frey, Kim Carnes, J.D. Souther) who turned into a successful producer/songwriter with a resume that spans over 150 recordings with a legion of diverse artists (e.g., Alabama, LeAnn Rimes, Reba McEntire, Lynyrd Skynyrd, Timothy B. Schmitt, Kathy Mattea, Brenda Lee).

You might remember Vinyl King Larry Byrom as guitarist with Steppenwolf (he penned “Hey Lawdy Mama”, among others). Since then, he has become a top session guitarist in Nashville, while continuing to write songs for country artists like Tanya Tucker and Alison Krauss. Drummer Harry Stinson is another singer/producer/songwriter and has toured with a host of others (Brooks & Dunn, Steve Earle, Peter Frampton, Etta James, etc.).

Jim Photoglo is another career musician/performer/songwriter with many solo albums and impressive credits. He has toured with Andy Gibb, Vince Gill, Nicolette Larson and Dan Fogelberg, but even more impressive is the list of artists who have recorded his songs, some of whom include: Dusty Springfield, James Ingram, Kenny Rogers, The Oak Ridge Boys, Michael McDonald, Travis Tritt, The Everly Brothers, Faith Hill and The Nitty Gritty Dirt Band. He’s also a part of the band Run C&W (with Vince Melamed), whose specialty is to take classic songs of the 1960s and 1970s and re-interpret them in a bluegrass style.

While vocalist/keyboard player Vince Melamed is not listed on the CD, he is very much an active Vinyl King (when the recording was underway, he had just signed a publishing deal with Madonna’s Maverick and put all his energies into writing songs that might get covered instead). He too is an accomplished songwriter, having written for artists like Trisha Yearwood, Ty Herndon, Phoebe Snow and Tina Turner.

These talented guys got together and started doing this just for fun in 2001. For some of them, it was a chance to re-discover their love of music and now, over a year later, the finished disc captures that spirit.

“I Think I Know” opens with an upbeat guitar riff that’s “And Your Bird Can Sing” transposed, then switches into something else, with lyrics that cover the same ground of “We Can Work It Out” (there’s even a smidgeon of Brian Wilson/Beach Boys there too).

We get a bit of the Indian-flavors of “Within You Without You” at the opening of “Leave This Town”, which then morphs into something deliberately more Revolver-era. “Mind Over Matter” is definitely latter-era Beatles, concentrating on the John Lennon end of things (with great attention to sound details) and then switching into something that’s very ELO-sounding in mid-song before returning to the Lennonish aspect again.

“Mother Dear” is another McCartney take, this one very similar to his solo effort “Junk”, with a short pseudo-Russian mid bridge (a la “Girl) and enhanced by an alluring string arrangement. “Bang Bang” is the Vinyl Kings’ answer to the fun of “Maxwell’s Silver Hammer” and again, some Beach Boys’ sounds manage to creep across the ocean and pay a visit.

Photoglo’s “Chocolate Cake” is perhaps the most obvious in imitating the sounds and world of “I Am The Walrus” (with lyrics that are more “Savoy Truffle”). This is no easy feat, but The Vinyl Kings manage it well. The brief “Losing My Mind” is the bastard stepchild of “Come Together” and “Helter Skelter” (if you can imagine that), while “What If It Were You” is less easily identifiable (some “Strawberry Fields Forever” organ perhaps and some “Sun King”-like harmonies and heavy strings a la “Goodnight”).

“Dreams” is more like a solo Lennon song as sung by McCartney in a marvelously lush arrangement that recalls any number of other things, but stands well as an original tune.

While I have given some reference points, yours might be entirely different. And therein lies the fun of A Little Trip - the more you listen, the more you’re likely to hear. The songs will seem familiar from the very start (as they should), as will the sounds themselves (some songs are mixed with vocals completely separated from the music channels, true to the early George Martin production values).

As I said, this is the result of much love mixed with careful deliberation. Only very talented musicians would even dare to take on such a project, and thankfully, The Vinyl Kings succeed. While some songs have very specific targets (“Chocolate Cake” as “Walrus”), most of these present a general blend of Beatles’ style and sound elements, reassembled for your listening enjoyment.

Is this larceny or heresy? Peace out, people - and lighten up. A Little Trip is a nostalgia trip worth taking in the spirit of fun, a group of talented musicians bestowing a loving musical thank-you to those who have given us such a marvelous legacy. Put on the headphones and see if you can cite the references - or simply enjoy the music for the quality endeavor it is.

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