Hillman, McGuinn, Crosby, Clarke and Clark

RANDOM OBSERVATIONS FROM A BOOMER MUSIC FAN

Writing a first column for a newly established site is tougher than writing a regular column for a forum and an audience that have already been established. So here goes …

I am a "jangleholic" - a pop music fan who is very enthused by the jangly sound of Rickenbacker guitars and chiming, ringing Byrdsian riffs. When I was invited to write a regular feature for this site, the editor of Fufkin.com engaged me in a discussion about the growing number of contemporary pop bands who mimic the sound of the Byrds … without fully understanding its complexity. Anyone who has attended one of Roger McGuinn's "autobiographical" solo shows knows that his unique Rickenbacker 12-string sound represents a fusion of his own banjo and folk music experience, the commercially appealing 4:4 time and song structures popularized by the Beatles, and McGuinn's own mastery of electronic compression and mid-60s technology. This discussion with David reminded me of numerous other conversations that I have had regarding "pseudo-60s" music.

Many of today's pop artists are very savvy with their instruments and their recording technology - enabling them to create a plethora of slickly produced Byrdsian songs. However, very few of today's artists have the same traditional and folk music backgrounds that artists like Roger McGuinn, Gene Clark, David Crosby and Chris Hillman all possessed when they formed the Byrds. I'll be the first to admit that I enjoy almost any song that sounds remotely derivative of the Byrds signature sound. A contemporary artist will not gain my respect, though, until he/she/they exhibit more than a surface ability to mimic others. I witnessed a lot of artistic growth and originality in the mid to late 60s. It would be nice to observe similar (not just random) growth and originality in today's indie pop underground community.

Two recent shows that I attended featured indie pop artists who have exhibited artistic growth - owing in large part to their studied appreciation of various musical genres. Sid Griffin (formerly of the Long Ryders and the Coal Porters) performed in my area with his latest band, Western Electric. Although a pedal steel guitar gave the quartet a strong jangle'n'twang sound, the band's compositions featured programs and looping, elements of funk and electronic music … and the anticipated nods to folk/rock, country/rock and psychedelic music. Several weeks later, Pete and Maura Kennedy (AKA The Kennedys - who also happened to be in the audience for Sid's show) performed at the same club. The Kennedys' infectious brand of "coffeehouse pop" reflects their willingness to study many traditional styles of music and adapt these musical building blocks to their own compositions. Each of their four albums exhibits both their continuing artistic growth and their continuing efforts to mine and explore innovative techniques employed by their gospel, folk, jazz, country, blues, pop and rock predecessors. I was first attracted to their music because of their shared passion for jangly Byrds and Gene Clark songs, but I remain a fan due to their impressive musical growth.

These days, home studio technology and other reduced costs enable an indie pop artist to release an album without much trouble. I am envious of the talent possessed by many of these people and I am mindful of the sacrifices they have made to produce, record and release their own album. Now that this music has become so readily accessible, I would simply like to see more of today's indie pop artists exhibit appreciable artistic growth with their second and subsequently released albums - like Sid, Pete and Maura have.

As is the case with each of the "Fufkin.com" website writers, I welcome your thoughts in response to this column!

E-mail Eric

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