BLOODY RED BARON
APRIL REVIEWS
by Mike Baron
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THE PINECONES: Ooh! (Reel Cod)
Paul Linklater’s Toronto-based trio makes incandescent, luminous psychedelic rock that draws on the Yardbirds, the Hollies, the Beatles, the whole power pop panoply, sounding instantly familiar yet refreshingly new. Ooh! detonates like a thermonuclear bomb at the corner of Sunset and Vine and doesn’t let up, beginning with the Yardbirds/Hollies mash-up of “Gloomy Monday” in which Linklater’s guitar demands attention with fleet riffing usually associated with Al DiMeola or Les Paul. “It’s Always On My Mind” ambles in like the Lovin’ Spoonful with an operatic, almost vocally expressive guitar solo.
Linklater’s guitar sounds like Ralph Macchio’s classical break during the climax of Crossroads on the exuberant “She’s So Confident.” “Come On Back” is pure psychedelia from San Fran’s Summer of Love, with strains of George Harrison, the Pillbugs, and John Cipollina. “That’s the Way” harks back to the great harmony groups of the fifties and sixties like the Everlys and Righteous Brothers due to the close harmonies of Linklater and bassist Brent Randall, which occur on most songs. “In ‘n’ Out” is Brian Wilson elegance: pure, simple and surprising. Every song is a winner.
As we head into 2014 The Pinecones have set the standard. This record has the impact of Marshall Crenshaw or Marco Joachim’s Hidden Symphonies.
Five stars.
http://thepinecones.bandcamp.com/
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WYATT FUNDERBURK: Novel and Profane (Jolly Ronnie)
Based in Nashville, Funderburk has contributed to records by The Wellingtons, The Connection and Linus of Hollywood while his own musical vector falls in the power pop tradition of David Myhr, the Davenports and Campbell Stokes Sunshine Recorder with whom he shares an affinity for effortless pop hooks. “Summer” has a Ben Folds/Fountains of Wayne vibe while “You Know What To Do,” a goodbye boyfriend song, has an elegant bridge and the type of one/two harmonies popularized by the dB’s. “Feeling Good Tonight” sounds the most Nashville with a loping vocal and cowboy yodel.
“Never Seen the Sun” bounces along with that one/two harmony while “North on 65” is as rich as Duncan Maitland’s music. Finally, “If I Ever Wanted Easier” is a Raspberry-worthy rave-up. This is how you end an album, and yet another reason we want albums and not single song downloads.
Four and a half stars.
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MARSHALL HOLLAND: And the Etceteras
Holland is a one-man band who captures the dynamics and coherence of a group, operating in a rarefied chamber rock atmosphere reminiscent of Christopher Cross, Cliff Richards, Andrew Gold and Donavan. Marshall’s a strummer not a picker, but his keyboard playing is what colors his music. He favors a high, vibraphone sound similar to The Shake-Ups or the instrumental intro to the Tempts’ “Beauty’s Only Skin Deep.” “At 65” could have come off a Bangles album. Vibes and strings color “Fool Me” and the Conavan-like “Radio Style.” “In the Swing of Things” brings on the full string orchestra and sounds like Marshall listens to Fairport Convention. while “Elise at Least” summons Rod Stewart and the Beatles, with a Rudy Vallee vocal interlude.
Four stars.
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THE MOTET- The Motet
This seven-piece Boulder-based outfit is almost single-handedly keeping alive the jazz/rock tradition in the manner of B,S&T, Chase, and most particularly, Tower of Power which they resemble on their new album, The Motet. I also hear echoes of Donald Byrd, Kool & the Gang and Herbie Hancock’s Headhunters. The Motets deserve to be inscribed in The Annals of Funk. Although Tower of Power may be their closest touchstone, The Motet eschews TOP’s lyrical and romantic flourishes in favor of pure funk and a syncopated beat that just won’t quit.
The potent mix of vocals and instrumentals encourages poppin’, lockin’ and possibly break-dancing that opens up more toward the end with the tight harmonies of “Knock It Down” wherein an organ smear launches a bass/drum duet and ends with the righteous blast of “Keep On Don’t Stoppin,'” the most ambitious cut on the record.
Four stars.
