BLOODY RED BARON

AUGUST REVIEWS

by Mike Baron

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SUNRISE HIGHWAY: Windows (Kool Kat)

            Marc Silvert returns but this time there is less emphasis on lilting west coast pop and more bass–a lot more bass edging into Superdrag territory, beginning with the languid and mysterious “Windows.”  The Beach Boys harmonies peek over the sludge-heavy bass on “Call Waiting” followed by the melodically memorable “Giving It All Away” which could just as well serve as our national anthem as well as a personal statement.  “Out of Our Hands” dazzles with a surprising rainbow bridge before ending with a bomb blast.  “Big Mouth” stands out from the rest of the record with its use of major chords, while “QE Forever,” a meditation on the Federal Reserve Board–a unique protest song.  Finally, “Sleeping City” insinuates a sly lounge sensibility in the keyboards and a touch of Rascals.

            Four stars.

THE BRITANNICAS: High Tea (Jam)

            This international trio recorded the songs at home in Australia, Sweden and the US but you’d never know they’re not in the same room.  The title indicates their predilection for the British invasion and for the most part they nail it as these songs are infused with unique harmonies and that inchoate longing that lies at the heart of so much pop. “Talkin’ Bout Summer” brings the Byrdsian jangle while “The Moment Passed” contains a rhythmic phase shift and charming harmonies.  “Come On Boys” is in the Badfinger camp while “Bleed Between the Lines” could have come offThe Notorious Byrd Brothers.  Pizzicato guitar leads to more Byrdsian juangle on “Sign Out,” while “More Like Than Different” merges Byrds and Badfinger. “I Work At the Post Office” is a haunting Beatlesque ballad.  “I Got You” could have come off the American Graffiti soundtrack while “Lyin’ On the Ground” would make a great fist-pumper for The Boss.

            Four stars.

THE BEAT RATS: Have Mersey (Cavern Records)

            Cover shows the Beat Rats in the legendary Liverpool Cavern and this is a slab of everything you love about early Brit rock and pop, infused with rockabilly charm, covering retro similar to Boton’s The Connection.  “Boomerang” is pure rockabilly while “You Were Always Mine” distills Gerry and the Pacemakers and early Beatles.  The guitar sneers on “Buzzoff Nimrod” while dirty sax leads the instrumental “Have Mersey.”  These guys sound like they’re goofing around and having a blast with charming but throwaway material like “Nyah Nyah.”  Probably the closest thing to being at the Cavern as you’re likely to find.

            Four stars.

LANNIE FLOWERS – LIVE IN NYC (Spyderpop)

            Recorded in the aftermath of Hurricane Sandy this is a remarkably vivid live recording showcasing Flowers’ songwriting and playing, or Power Pop 101.  The recording is superb–it almost sounds like a live studio recording. From the Beatlesque “Come On Girl” to the archetypal Hawks/Twilley/Hollies killer “Another Weekend,” Flowers’ mellifluous, rainbow-colored esthetic shines. Big Star’s “Back Of A Car” is the only cover.

            Four stars. 

ADRIAN BOURGEOIS: Pop/Art

            Bourgeois’ melodic genius is on extravagant display on this two disc set with virtually no filler, beginning with the piano-driven ballad “New December” which starts somber before soaring into poignance on strings of angels.  As a songwriter, Bourgeois has a Todd Rundgren sensibility and an ear for bridges and hooks.  His songs, such as the symphonic “Time Can’t Fly A Plane” seem bigger than their four minutes with more switchbacks than a mountain road. “Everybody Knows It Was Me” is a Ben Folds style rocker that starts sweetly but finds grit in the bridge and Bourgeois’ sweet tenor is spot on.  His distinctive harmonica, part country, part blues dominates many of these songs including “Pictures of Incense,” another Todd Rundgren charmer that stiffens up in the bridge.  There’s more than a twinge of Dylan in a lot of these including “Jonah” and “My Sweet Enemy,” which features banjo and harmonica.  “Have It Your Way” is an urgent stomper with Ricky adding the high harmonies.

            “Shot In the Dark” is a masterful blend of major and minor chords.  “The Lost And the Free” is as bouncy and infectious as the 5th Dimension and follows an internal logic that leads to catharsis.  “Better” is another melodic gem with the ineluctable progressions of Duncan Maitland.  “Parachutes” and “Still Life” bring that symphonic Jellyfish sound, while the romantic “Celebrate” could have come off a Jeff Buckley record.  “Rainy Day Parade” ends this cornucopia in folk ballad mode, again invoking Dylan.

            Four and a half stars. 

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Mike Baron is the creator of comic books Badger and (along with Steve Rude)  Nexus.  His latest book is “A Brief History of Jazz Rock” – more on Amazon CLICK HERE.

He has written five novels in the last few years, all available on Amazon here:

http://www.amazon.com/s/ref=nb_sb_noss_1/184-5348781-8830168?url=search-alias%3Dstripbooks&field-keywords=Mike%20Baron.  Visit his website here:  http://bloodyredbaron.net and on Wikipedia here:  http://en.wikipedia.org/wiki/Mike_Baron