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The Big Show #2: Summer Songs

 

Sunrise HighwayWith the calendar switching recently over to summer, the time seemed ripe to do a show devoted entirely to summer songs.

The Big Show #2 includes twenty such songs, and progresses from songs anticipating summer’s imminent arrival, to songs proclaiming the simple joys of summer to songs caught in summer rain to songs announcing the end of summer.

It concludes with Sunrise Highway singing about “The Endless Summer.”

“Summer Songs” is posted at Mixcloud, but you can hear it directly in this post by clicking on the picture, below. The complete track list appears directly below that:

 

Track List:

1.  Attic Lights, “Summer’s Coming Back”

2.  Michael Carpenter and King’s Road: “Summertime”

3.  Seth Swirsky, “Summer In Her Hair”

4.  War, “Summer”

5.  The Red Button, “On A Summer Day”

6.  Wyatt Funderburk, “Summer”

7.  The Britannicas, “(Talkin’ ‘Bout) Summer”

8.  Twenty Cent Crush, “Summer (You Know My Name)”

9.  Propeller, “Summer Songs”

10. Vegas With Randolph, “Summertime”

11. The Sunchymes, “On A Summer Ride”

12. The Daintees, “Roll On Summertime”

13. Weekend, “Summerdays”

14. Wilco, “Summer Teeth”

15. The Crush, “Summer Rain”

16. Shoes, “The Summer Rain”

17. Stephen Lawrenson, “Summer & Lightning”

18. Scott Brookman, “Summer’s Two Weeks Notice”

19. The Valley Downs, “The Last Days Of Summer”

20. Sunrise Highway, “Endless Summer”

 

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Best Listens Of 2012

Michael Carpenter

Michael Carpenter

This site is not necessarily about the “latest” music. Its about the past seven decades of a certain type of music. It proceeds from the viewpoint that “if I haven’t heard it, its new to me.” And, of course, “if you haven’t heard it, its new to you, too.”

So, what follows is some music I really liked in 2012. It’s in no particular order. Some of it was released in 2012. Some of it was released more than forty years ago. Some of the older music I knew previously — even liked quite a lot in the past — but which nevertheless resonated more over the past twelve months than it did in years gone by:

Cotton Mather, Kontiki (Deluxe Edition): Back in 1998 when Kontiki was originally released, music discovery was not quite what it is now. On-line resources were limited and were accessed largely by dial-up modem. My music discovery in the old days consisted of reading about something new and different, or driving to the Virgin Megastore to use its many CD listening stations.

I first heard Kontiki in its entirety after it was re-released earlier this year, along with twelve bonus tracks, following a successful Kickstarter campaign. The results are glorious, and Kontiki brings to mind The Beatles’ Revolver with straight-ahead pop songs blending seamlessly with more reflective psychedelic pieces punctuated by wood and string instruments, piano and analog tape tricks.

Starbelly, Lemonfresh (Deluxe Edition): This is another reissue of a 1998 release that I heard for the first time in the past year. Actually, this is a digital-only reissue by Futureman Records of an earlier reissue that added twelve bonus tracks to the stew. Its one one of those records that makes you think on its first listen “damn, this is good.” Its more than seventy minutes of non-stop hooks, melodies, chiming jangly guitars, occasional big beats and consistently clean production. There is not a bum track in the entire twenty-three song collection, although the eleven that comprised the original 1998 release remain the standouts.

Michael Carpenter, SOOP Sampler: Carpenter has released five records of “songs of other people” (“SOOP”) over the years. A twenty-one track digital download sampler from Futureman Records (for a whopping $7) is a good place to start exploring this substantial and consistently great body of work. The highlights on this collection include Carpenter’s versions of The Hollies’ “Look Through Any Window,” “(What’s So Funny About) Peace, Love and Understanding” and “Wild Honey,” which bests the Beach Boys’ original. My favorite, though, is Carpenter’s version of The Zombies’ brilliant and beautiful, “This Will Be Our Year”:

The Supahip, Seize The World: Carpenter recorded this one-off back in 2006 with Mark Moldre. “They set about the idea of writing, recording and mixing a track… arriving in the morning with nothing except maybe some loose snippets of songs, and leaving with a completed track.” And it worked. Seize The World delivers twelve uncluttered, melodic pop songs (you even get “mono” versions of ten of the tracks) that go down easy and will stay in your brain for days, particular the quiet, reflective “No Tomorrow”:

Seth Swikrsy, Watercolor Day: This 2010 release was on my car stereo almost daily for a couple of months this year. Its just addictive. As I wrote previously, the Beatles are an obvious influence on Swirsky’s solo work, yet Watercolor Day feels much more like the Beach Boys’ Pet Sounds. Trumpets, french horns, violas, cellos, oboes and trombones appear seemingly out of nowhere, but nevertheless fit perfectly in the mix and saturate the sound with texture.

Cliff Hillis, Dream Good: Hillis wrote, sang and played on Starbelly’s Lemonfresh. His fourth solo outing is my favorite record that was actually released for the first time in 2012. Its a textbook example of perfect pure pop, covering all the necessary territory from mid-tempo pieces with acoustic guitars to full-fledged rockers to grand, more baroque pop, all of which is beautifully sung and played.

Myracle Brah, “Simplified”: Three-chord rock? Think one-chord rock on this one from 2001. That’s why it works. It just pounds its way relentlessly into your brain for a minute, fifty-four seconds and then refuses to leave. Its as simple and as powerful as it gets.

Doug Powell, “When She Awoke”: Powell wrote and performed this one from 1998 on cassette 8 track with Tom Petersson of Cheap Trick. Despite using a recording process that Powell calls “the audio equivalent of drawing in the sand with a stick,” the song nevertheless occupies the opposite end of the pop spectrum from “Simplified.” It’s  lush, elaborate and dreamy, and filled to the brim (actually, far beyond the brim) with gorgeous harmonies.

The Jayhawks, Mockingbird Time: “Waiting For The Sun” from 1992’s Hollywood Town Hall ranks in my all-time Top 40. The Jayhawks, though, were never quite the same after Mark Olson left the band in 1996 to follow his inner-Gram Parsons. His return on Mockingbird Time, released in September 2011, marked a return to form for the band. All of the trademark Jayhawks elements are present — the sharp songwriting, the full sound and, most importantly, the beautiful harmonizing of Olson and Gary Louris.

Big Star, “The Ballad Of El Goodo”: I’ve written about Big Star on this site, and I have liked “The Ballad Of El Goodo” for years. But this year, I really came to love this song about hope and perseverance against “unbelievable odds.” It features one of Alex Chilton’s finest vocal performances, great backing harmonies and is one of the band’s best songs. It also directly or indirectly influenced everything else on this list.

So, that’s a capsule of the music that made me the happiest over the past twelve months. How about you?

Seth Swirsky’s Watercolor Day: Analog Candy For The Digital Age

Some albums stay with you for a long time. Those are the one you keep coming back to. Sometimes the lyrics speak to you. Sometimes it’s the sound. Sometimes the melodies swirl around in your head for days without prompting.

One such record for me is Seth Swirsky’s 2010 release Watercolor Day. Swirsky worked previously in the music business as a staff songwriter at Chappell Music, Warner-Chappell Music and EMI Music, where he penned songs recorded by Rufus Wainwright, Al Green, and Smokey Robinson, among others. He co-wrote “Tell It To My Heart,” a big hit for Taylor Dayne back in 1987.

As a performer, Swirsky describes his sound as “old school.” It certainly is. Its a magical trip back in time to the pure pop stylings of the 1960s, where an idea, catchy melodies, gorgeous multi-part harmonies, and two-and-a-half minutes of vinyl could yield glorious results.

Although the Beatles are an obvious influence on Swirsky’s solo work, and on the two records released by his band, The Red Button, Watercolor Day feels much more like the Beach Boys’ Pet Sounds. Trumpets, french horns, violas, cellos, oboes and trombones appear seemingly out of nowhere, but nevertheless fit perfectly in the mix and saturate the sound with texture. Swirsky also makes use of the pre-synthesizer Mellotron, an “electro-mechanical, polyphonic tape replay keyboard originally developed and built in Birmingham, England, in the early 1960s.” Or, in other words, a Mellotron uses magnetic tape to coax the sound of virtually any instrument out of a basic keyboard. It was was utilized to great effect on numerous songs in the psychedelic era. Watercolor Day is analog candy for the digital age.

And the candy is attuned to the rhythm of seasons. Much of Watercolor Day evokes the easy, breezy days of summer at the beach. The title song, however, is about a “colder” December day: “It’s a watercolor day/Skies of blue have turned to grey/Her green eyes mix with the sunrise/As the butterflies melt away”:

Summer returns, though, on the next song, “Summer In Her Hair,” which, of course, is all about a girl who’s “got the summer in her long, blond hair.” “4 O’Clock Sun” is a short instrumental with harmonizing voices that feels like a warm late-afternoon at the beach as it starts to fade toward night. Full-circle is achieved by the last song, “Amen,” an ode to the return of autumn, red leaves, bare trees, the rain and an eternal caring hand. The watercolor days of December will soon return.

If all of this sounds like a cloyingly sweet confection devoid of substance, it’s not. The songs are richly detailed soundscapes about, well, life. And Swirsky often gets a phrase down just right. The minor key “Living Room” begins “Empty picture frame, it used to have a photograph/Of her smiling.” We’ve all been there before, in one way or the other. On “She’s Doing Fine,” he sings “she’s doing fine, that’s what her note said/she’s doing fine, she left it on the bed.” More basic truth. His tribute to Harry Nilsson, “(I Never Knew You) Harry” begins “I heard you back in ‘69/’Everybody’s Talkin’ was playing all the time.”

He even attempts a kind of mini-Side 2 of Abbey Road on “I’m Just Sayin,’” a medley of some of the prior songs on Watercolor Day. It also closes with some seriously Beatleseque guitars. “The coda at the end of the album is something that Sir Paul McCartney has done brilliantly over the years and I wanted to attempt it.,” Swirsky says on his website.

And he certainly achieved it. Watercolor Day is one of the best albums of the past decade. It has a handmade, craftsman-like quality that you don’t get very often in these days of processed beats and auto-tuned voices. Not a moment is wasted in the 18 hook-laden songs, some of which clock in at less than two minutes long. Why create clutter? Its far better to get in, get out and leave a lasting footprint on the mind of the listener. That’s exactly what Watercolor Day does.

[Originally published on the defunct MT Weekly]

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