Thrift Store Music: 6TN

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Thursday, October 29, 2020

Keith Sykes - I'm Not Strange I'm Just Like You

Name: Keith Sikes
Album: I'm Not Strange I'm Just Like You
Year: 1980
Style: Americana, Oldies Rock, Roots Rock
Similar Bands: Fabulous Thunderbirds, Walter Egan, Marshall Crenshaw, Steve Forbert, Blasters
"One-Word" Review: Buddy Holly Updated
Based Out Of: Memphis, Tenn.
Label: Backstreet Records, MCA Distribution

Cover, Sleeve, Record

Back, Lyrics & Credits, Record

I'm Not Strange I'm Just Like You (1980)

B.I.G. T.I.M.E 3:09
Love to Ride 4:15
Smack Dab in the Middle 2:38 (Charlie Calhoun cover)
Ain't That Some Lovin' 4:31
928 2:07 /
I'm On A Roll 2:45
Maybe I'm a Mockingbird 3:58
Makin' It Before They Got Married 3:37
When My Work Is Done 2:57
I'm Not Strange (I'm Just Like You) 3:12

Album Rating (1-10): 7.0

Members & Other Bands:

Keith Sykes - Writer, Vox, Lead & Rhythm Guitars (Jimmy Buffett, Kris Kristofferson, Rita Coolidge, John Prine, Billy Prine, )
John Hampton - Drums, Backing Vox, Percussion, Engineer (Todd Rundgren, Hard Rain, Todd Agnew, Mylon Fefevre, Tommy Keene, many more)
Mike Brighardello - Bass, Backing Vox, Percussion (Giant, Steven Curtis, Lydia Miller, Amy Grant, Michael W Smith, Imperials,Glen Campbell, Jummy Swaggert, Alabama, Kenny Rogers, Anne Murray, Neil Diamond, Dolly Parton, Travis Tritt, Oak Ridge Boys, Billy Ray Cyrus, Emmylou Harris, Shania Twain, BJ Thomas, Jeff Foxworthy, Barry Manilow, Corey Hart, Toby Keith, Tim McGraw, Eddie Rabbitt, Lee Ann Womack, Clint Black, Van Zandt, Faith Hill many more)
Mike Crews - Guitar, Backing Vox
Joe Hardy - Bass, Backing Vox, Engineer (Alice Cooper, ZZ Top, Ry Cooder, Georgia Satellites, Replacements, Jim Corcoran, Mylon LeFevre, Deborah Conway, CJ Chenier, Degarmo & Key. Siniestro Total, Marie Wilson, Cross Canadian Ragween, Loud Machine, Damn Quailes, Billy Gibbons, Tommy Keene, Tom Cochran, Jeff Healy Band, many more)
Ed Degarmo - Organ, Engineer (Degarmo & Key, The Cause)
Jerene Sykes - Producer
Greg Ladonyi - Mixing
BACKING VOX/AUDIENCE ON TITLE TRACK: Terry Dane Adney, Redbeard & Sandy, Walter Dawson, Suzanne Phelps, Kay King, Trish Mitchell, John Kilzer, Stacey Parks, Bobby Grace, Harry Chittenden, Jamie Chittenden, Bobby Lane, Sky King, Jody McCarthy, Bobby Maupin, Lynn Yates, Luis Scholes, Robert Donahue, Mark & Debbie Jowers, Gerry Haas, Mary Tillerson, Tommy Jackson, White Heart, Steve Camp, Ace Cannon, Stacie Orrico many more)
Doug Sax - Mastering
Mike Reese - Mastering
Tom Corcoran - Photos

Unknown-ness: Never heard of this singer/songwriter. I'm guessing he's gonna be your average storyteller, unpretentious singer, that is part bar room open miker (miller lite can), part musician's musician (photo on back in the studio) trying to break the mold (based on the album title) but won't.

Album Review: The album is part Americana, Roots rock, and part revival of the style of Buddy Holly- pretty much the formula of any singer song writer trying to sound different. The only stand-outish track- and not really for good- is the album ending title track. It features what sounds like a live audience of folks with background conversational ambiance to a Blasters-like song with some yelps, whistles and claps. The audience also does a bit of call and response with the chorus, reminding me of Chuck Berry's My Ding-a-ling live recording.

Sykes has had a long career in the music industry rollercoastering between performing and writing. He has performed solom accompanied many famous musicians, and was even in Jimmy Buffett's Coral Reefers. He has also written many songs recorded by others like The Judds, John Prine, Jerry Jeff Walker, Rosanna Cash, Guy Clark, George Thorogood, Sissy Spacek, Mitch Ryder Rodney Crowell, and he co-wrote Volcano with Jimmy Buffett. He started out in 1968 after hitchhiking to the Newport Music Festival and was inspired by Arlo Guthie's perfomance of "Alice's Restaurant Massacree." He even performed the single B.I.G. T.I.M.E on SNL in 1980, in support of this album, which was released on Tom Petty's record label.

Stand Out Track: B.I.G. T.I.M.E

Links:

Youtube (9/10 tracks, missing Mockingbird)
Wiki

Wednesday, July 8, 2020

Jeannie C. Riley - The Generation Gap

Name: Jeannie C. Riley
Album: The Generation Gap
Year: 1970
Style: Country Pop, Southern Bluesy Rock
Similar Bands: Tammy Wynette, Brenda Lee, Dolly Parton, Dusty Springfield, Lorletta Lynn, Connie Smith
"One-Word" Review: Spunky Country Oldies
Based Out Of: Stamford, TX
Label: Plantation Records, Shelby Singleton Corp.

Cover, Record

Back, Record

The Generation Gap (1969)

The Generation Gap 2:44 (single B-side)
Fine Feathered Friend 3:25
Words, Names, Faces 2:03
My Man 2:58 (single)
He Made A Woman Out Of Me 2:15 /
Duty Not Desire 2:26 (single)
Games People Play 2:54
Darkness Falls 2:49
Holdin' On 2:02
Okie From Muskogee 2:35
To the Other Woman 2:45

Album Rating (1-10): 6.0

Members & Other Bands:

Southern Graphics Industry - Design & packaging
The Belmont Agency - Cover Photo
Jeannie C. Riley - Vox
Shelby Singleton Jr - Producer

Unknown-ness: Never heard of this singer. But it looks really mod, and hippie with a strong foothold in the Dollywood country south. So oldie, catchy country pop is my guess.

Album Review: There is a lot of pop, catchy melodies, and slightly psych production to fit into the 60's mod sound, but there is also the same amount of country/gospel bluesy swagger to the songs, and Riley's vocals are versatile enough to easily handle both sounds. In 1968, she won the Grammy award for best female country vocal performance on Harper Valley PTA, which held the #1 Billboard spot for both pop & country and spawned movies and tv series, along with a major network variety show for her. Due to the content of the song: a widowed mother who dated and dressed in the 60's mini skit and go go boots style responded to a hypocritical PTA who judged her style negatively, she herself was pressured to match that style against her personal comfort. In the late 70's she became born-again and focused her recordings on gospel music. The songs on here were written by an array of people from Margaret Lewis & Myra Smith (4 tracks), Merle Haggard "Okie From Muskogee" and even Gary US Bonds + Swamp Dogg: Jerry Williams Jr "To The Other Woman," which is kind of a companion piece to her Harper Valley PTA single. Before she moved to Nashville, just out of high school, her four year marriage produced a daughter, Kim, in 1966, who later would accompany her on stage, singing back up, touring with her, and trying out her own career as Riley Coyle.

Stand Out Track: The Generation Gap

Links:

Spotify full album
Wiki

KXRB what happened to?

unofficial Facebook

Cocaine & Rhinestones

KRFO Kat Kountry 1-hit wonder

TX Music

Grammy page

Tuesday, April 7, 2020

Billy Burnette - s/t

Name: Billy Burnette
Album: s/t
Year: 1980
Style: Honky-Tonk, Rockabilly, Pub Rock
Similar Bands: Stray Cats, Southside Johnny, Buddy Holly, Marshall Crenshaw
"One-Word" Review: Truck Stop Bar Demos
Based Out Of: Memphis TN
Label: CBS, Columbia

Cover, Sleeve, Record

Back, Lyrics, Record

Billy Burnette (1980)

In Just a Heartbeat 3:59
Oh, Susan 2:44
Danger Zone 3:32
Don't Say No 3:04 (single)
Rockin' LA 2:17 /
Honey Hush 2:26
Rockin' With Somebody New 2:29
One Night 3:02 (Elvis Presley cover)
Sittin' On Ready 2:21
Angeline 2:37
Tear It Up 3:09

Album Rating (1-10): 6.0

Members & Other Bands:

Billy Burnette - Guitar, Vox, Production Assistant (Fleetwood Mac, Mick Fleetwood's Zoo, Spirit of the Forest, Shawn Camp, Townes Van Zandt, Michael Smotherman, Roy Orbison, Troy Newman, Dwight Twilley, John Fogerty, Christine McVie, George Strait, Jimmy Barnes, Todd Sharp )
Kimme Gardner - Bass (Ashton, Gardner & Dyke, Badger, Garwood Pickjon, Quiet Melon, The Birds, The Creation, Wobblers, Ronnie Wood)
Chris Brosius - Guitar, Backing Vox (Lisa Nemzo, Karla DeVito, Moon Martin, Judy Street)
Ian Wallace - Drums, Percussion (21st Century Schizoid band, Bonzo Dog Doo-Dah Band, Crimson Jazz Trio, Fission Trip, King Crimspn, Snape, The Quireboys, The Sleepy, Wallace Trainor Conspiracy, Warriors, The World
Barry Seidel - Producer
Nicholas Von Sternberg - Neon Photo
Sam Emerson -Band Photo
Gregg Cobar - Billy Photo
Biff Dawes - Engineer
Les Cooper - Assoc. Engineer
Patrick Burnette - Assoc. Engineer
Ken Perry - Masterting

Unknown-ness: Never heard of this band / singer songwriter. Looks like it will be some John Mellencamp Americana by the back photo, but perhaps mixed with some new wave tendencies based on the neon cover

Album Review: Apparently, I share a birthday with Billy, some 25 years later. He recorded his first record with Ricky Nelson at the age of 7, partially due to the fact that his father was famous performer, Dorsey Burnette, who even had him on tour at 3 1/2 years old. After many brushes with a slew of legendary acts and legendary acts who played songs he wrote, his biggest success was replacing Lindsay Buckingham in Fleetwood Mac: an experience that took him away from rockabilly/country music for a few years. The pub rock element comes through more than rockabilly on most of the songs. Most songs feel like demos, too...there is just something missing in the production.

Stand Out Track: Oh Susan

Links:
Wiki
Discogs
Facebook
website
Fleetwood Mac fanWiki
Rockabilly Hall
IMDB
Allmusic

Wednesday, February 11, 2015

Watson Beasley - s/t

Name: Watson Beasley

Album: Watson Beasley

Year: 1980

Style: R&B Disco

Similar Bands: Gloria Gaynor, Donna Summer, Pointer Sisters, Dr. Buzzards Original Savannah Band

"One Word" Review: Disco Soul Wave

Based Out Of: Tennessee (?)

Label: Warner Brothers, Warner Communications Company, Unison Records

Watson Beasley - Cover & Record

Watson Beasley - Back & Record

Watson Beasley (1980)

Darlin I 5:05
Body Free 5:01
Dimensions 4:52
Helpless 3:43 /
Breakaway 3:47
Don't Let Your Chance Go Bye 5:48
Fantasy Island 4:50
What's On My Mind 5:10

Album Rating (1-10): 7.5

Members & Other Bands:
Zappy - Art Direction, Cover Concept

Ron Rivkin - Art Direction, Cover Concept, Coordinator of Production

Brian Smith - Bass (Fred Anderson Quintet, Henry Threadgill Sextet, Luther Thomas Quintet, World Bass Violin Ensemble, Justine McCoy, France Joli, )

Harold Fisher - Bass (Tchukon, Freddie James, Gino Soccio, Maurice Massiah, Kat Mandu)

Gabriel Boucher - Engineer

Chuck Gray - Engineer, Mixing

Harvey Finkelstein - Executive Producer

Steven Grossman - Executive Producer

Howard Forman - Guitar (Witch Queen, Gotham Flasher, Karen Silver, Gino Soccio, NIkki Yanofsky)

Kathleen Dyson - Guitar (Kat Mandu, Tchukon, The New Power Generation)

Jack Lenz - Keys, Arrangements (The Bat Boys, Seals & Crofts, Anne Murray, Raffi, Atomic Betty, Lafleur)

Randy McCormick - Keys (Ronee Blakley, Roadside Band, Candi Station, Swamp Dogg, Paul Anka, Jinx, Travis Wammack, Muscle Shoals Rhythm Section, Mac Davis, Clarence Carter, Toulouse, )

Warren Williams - Keys (Tchukon, Massiah, Daniel Lavoie)

Jose - Mastering

Karen Coshof - Photography

Alfred Beasley - Asst Producer, Vox, Drums, Percussion, Arrangement (Gino Soccio, Boule Noire)

Gina Watson - Asst Producer, Arranger, Vocals, Percussion

Peter Alves - Producer, Arranger, Percussion, Engineer, Mixing

Unknown-ness: I've never heard of this, but I love the cover. The hot, neon colors, the angular "glasses" over the eyes, the angular logo, and the suits with thin ties scream new wave, yet I get the feeling that this will be an album full of disco-like R&B. Perhaps it is the song titles and lengths. Maybe it will be a cross between the two genres. All I know, is that I had to buy this once I saw it.

Album Review: So Watson and Beasley are the two main performer’s last names…and here I had them under “B” when they should be “W.” Change made. There is not much on the interwebs about this duo. They approach disco from a pop/rock standpoint, incorporating rock guitars and some new-wavish synth effects. The album seems to have been re-released on CD in 2006. Alfred Beasley is now a preacher and still into music as a way of getting his message across, and was an award winning drummer when he went to Tennessee State.

“Darlin I” starts with a new wave edge: guitars and some bouncy synth piano. The female vocals begin and are rich, and produced with a disco flair. The power chords continue throughout the song, as does the piano buried in the back of the track. The steady marching drum gives a feeling of confidence. The male vocals support the lead, and are just as high in pitch. In the middle of the song, the bass line becomes bouncy and is combined with a spastic synth whistling flutter that adds more of a disco element. The guitar becomes a bigger part of the song in the later half, jamming out with miniature solos toward the end and as the song fades out.
“Body Free” has a simple two note drum beat in the beginning, and is layered over with some synth effects that propel the dance tempo forward into the realm of disco. The bass beat is confident and the space-age synth effects glisten in the background. The backing harmonized female vocals in the chorus come in to support the powerful lead. The thing about these tracks are that they are catchy and designed to repeat in order to create an anticipatable dance routine. So once they hit upon their sturdy hook, they cycle out as long as they can, and end in fades.
“Dimensions” has an angelic choir of Ahhh-ahhs and swirling harps for the first 45 seconds. Then a hip slow dance melody takes form with the harps and male vocals gently glide over the slow jam. The song slowly picks up the pace and by the second half of the song, it finds its feet as a shuffling dance groove.
“Helpless” is a steady bouncy bass line under a single strummed jangley note. The soulful female vocals carry the song along the disco melody. A backing choir of female vocals takes the production back to a comparison to Supremes or Ronettes.

“Breakaway” was the big single that came out with lots of remixes. It immediately jumps up and down with a no nonsense driving tempo and jittery melody. The production of the vocals and backing vocals paired with the looping bass line places the song firmly in the disco category. With a different execution of the vocals, this could easily have been a nervous new wave hit. Each section has its own distinct twist on a common hook. In the breakdown section toward the end, the bass line quits displaying the drum beat and some twinkling synth chimes like shooting stars.
“Don't Let Your Chance Go Bye” was also a single. It is a little funkier; with a bass groove that steps wider across the music landscape. The vocals are multi layered like a choir, and it jumps right into what sounds like the chorus. The tempo is not as driving, and gives way for slower and slicker disco dance moves. The happy groove is enhanced by an upbeat precise guitar section.
“Fantasy Island” begins with a windy effect, and some show tune guitars with a jazzy progressive beat. The choir of vocals acts like another instrument in the beginning, but once the solo female vocals begin, they take on an organic, loungey path of their own. This reminds me a little of Sunshower by Dr Buzzard’s Original Savannah band.
“What's On My Mind” embraces new wave with a sinister, metallic synth beat. Then a piano is introduced, and the high female vocals ease in, giving balance to the original notes. This is a toe tapping disco song, with simple, repetitive musical support and a constant stomping drum beat. The shady synth melody returns, combated with power guitar chords, but it quickly resumes the disco distinction, utilizing the chorus of female vocals in backing support of the lead in the chorus. Toward the end it is a call and response between the female lead, and the high male vocals. But the dark two note bass beat never rests.

Stand Out Track: Breakaway

Links:
Discogs

Friday, February 6, 2015

The Pink Spiders - Hot Pink

Band: The Pink Spiders

Album: Hot Pink

Year: 2004

Style: Pop-Punk, Power Pop, Garage Rock

Similar Bands: MC5, Mooney Suzuki, A's, OK Go

One Word Review: Speedy Neurotic Pop

Based Out Of: Nashville, Tennessee

Label: CI Records, Lumberjack Distribution

Hot Pink - Cover & Liner Notes

Hot Pink - Liner Photo & Lyrics

Hot Pink - Centerfold Picture & CD

Hot Pink - Lyrics & Liner Photo

Hot Pink - Back

Hot Pink (2003)

Stereo Speakers 2:35
Teenage Graffiti 2:19
Knock Knock 2:19
Sham On 2:07
Going Steady 1:40
Hollywood Fix 2:29
Modern Swinger 3:04
Talk Hard 2:57
Chicago Overcoat 2:37
Little Razorblade 4:11
Soft Smoke 3:33

Album Rating (1-10): 8.5

Members & Other Bands:
Matt Friction - Vox, Guitar, Producer, Writing (Silent Friction, Oliver's Army, MF & The Cheap Shots, The Dozen Dimes, Intramural, Sadaharu)

Jon Decious Bass (Dixie Whiskey, Caitlin Rose, The Armed Forces)

Bob Ferrari - Drums (Oliver's Army, Dixie Whiskey)

Jason Bullock - Producer, Engineer, Mixing, Mastering

Bo Streeter - Photography

Jeff Breil - Layout Design

Coyote Cospel - Layout & Design

Raf Cevallos - Rhodes, Farfisa Organ, Moog, Melodica, Omnichord (Silent Friction, Comfies)

Jonathan Morrell - Cello

Unknown-ness: I've never heard of this band, but from the 60's vinyl recreation layout, I imagine they are trying to employ the image of a 60's garage pop band. Their clothing style is in their present era, but even down to the fake-record ring on the cover and back, they are presenting themselves as a retro-style band.

Album Review: The Pink Spiders found themselves in the middle of an 11 label bidding war back in 2004, before they were picked up by Geffen. This album has some of those tracks recorded before they found stardom. It is a full onslaught of nervous energy, and jittery vocals with the energy of big garage bands from Detroit. I only imagine the showmanship matched the recorded energy live. After this they had the big major label album, but through a string of awful events, they lost the contract and self-released the third album. 2/3 of the band left mid-tour, but they all reconvened to play a fan’s bar mitzvah in 2010, and have been on the return since.

“Stereo Speakers” bursts through with some aggressive, fast lyrics. The rock energy is equal to the MC5 and Mooney Suzuki. The vocals have a nice snotty, neurotic new wave accent to them, and the melody is whiney to match. The guitars soar in the background at the very end.

“Teenage Graffiti” is driven by guitar and very fast played guitar chords. The vocals again have that A’s quality of rushed singing. The song feels like it was recorded at 33 and played at 45. The chords are played fast on top of one another.

“Knock Knock” starts out with a slow, low church organ. Then the song begins in a catchy, normal paced pop song. Again, the best description of the vocals is nasally, jittery new wave. The drums are pounding where they don’t necessarily need to, as the tempo is slower than their beat.

“Sham On” feels like an OK Go song, with the vocals processed through a bit of a fuzzy effect. The song is a straight up power pop jam, and there is a little sample of a carnival melody at the end of the verse. It is just missing one more section or element to be a solid pop song.

“Going Steady” jams out with an acoustic guitar intro. The song then jumps off the rapid fire lyric and chord progression end, like a sped up Buddy Holly tune. In the second half of the song, they employ a guitar tone that drowns out the rest of the song.

“Hollywood Fix” has a sing-song pop-punk melody. But the vocals are not as angry: just nasally. I feel like this song could have its own dance.

“Modern Swinger” was a single off this album, and their video for it is apparently included on the CD. starts with bass and drums in a dark manner that could actually lead to reggae. But the guitar kicks in, and it becomes a segmented power pop song. In the verse, the music sounds like Weezer, but the vocals are still OK Go. There is a breakdown with just a drum back beat and the vocal melody, still as stressed out as if backed by a full force of instruments.

“Talk Hard” tries to be metal with a slow headbanging intro. The jangly rhythm guitar and speedy lyrics change the direction to be a pop song. The two genres meet in the chorus to be a bold power pop song.

“Chicago Overcoat” is a power-ballad with slow soothing guitars. The style is changed at the drop of a hat into a fast driving pop song. The production of the vocals is a little emo, with call and response shouting lyrics. They are set back in the mix with a bit of distortion over them to not come off overwhelming.

“Little Razorblade” was their big single when rerecorded and rereleased on their big Geffen album. Here it slows things down in a pleasant way. It is bluesy but still overproduced, but is a relaxing melody compared to the rest of the album, with the guitar counting up individual notes. There is still a lot of emotion in the vocals; I can see how this was a sought after band, as I imagine the live show was very energetic.

“Soft Smoke” kicks right in with wailing guitar solos, and we’re back to the Detroit Rock sound and energy. The vocals dribble out of the singer’s mouth in machine gun like strings, yet still in tune with the melody and chord changes.

Stand Out Track: Teenage Graffiti

Links:

Nashville article about their return

Bandcamp

Tuesday, March 2, 2010

Bar-Kays - Nightcrusing

Name: Bar-Kays
Album: Nightcrusing
Year: 1981
Style: Funky Soul, R&B
Similar Bands: Earth Wind & Fire, Average White Band, Michael Jackson, Dr Buzzard's, Kid Creole, Rick James
"One-Word" Review: Quirky Disco Synth
Based Out Of: Memphis, TN
Label: Mercury, Polygram,

Nightcrusing - Cover & Liner Notes

Nightcrusing - Back & Liner Notes

Nightcrusing - Record

Nightcrusing (1981)

Nightcrusing 4:18
Hit & Run 5:51
Feels Like I'm Falling in Love 3:50
Freaky Behavior 5:10 /
Touch Tone 4:15
Unforgettable Dream 4:35
Traffic Jammer 5:50
Backseat Driver 3:54

Album Rating (1-10): 7.0

Members & Other Bands:
James Alexander - Album Coordinator
Charles Allen
Michael Beard
Mark Bynum
Larry Dodson
Sherman Guy
Harvey Henderson
Lloyd Smith
Winston Stewart
Frank Thompson
Allen A Jones - Producer, Remix Engineer, Cover Concept
William C Brown III - Remix Engineer
Robert Jackson - Remix Engineer
Henry Bush - Remix Engineer
Bernie Grundman - Mastering Engineer
Marvel Thomas - Strings & Horns Arranged & Composed
Michael Toles - Guitar
Mike McCarthy - Art Direction
Tom Hill - Photograhy

Unknown-ness: I never heard of these guys. Just from the cover art and production date, I got the album hoping for something along the lines of Rockwell; funky fun R&B pop. The record is well worn, which is a good sign, because it appears that it was played an awful lot, which would imply that it is a good album.

Album Review: After reading a bit about the band, I learned that they were the backing band for Otis Redding & most of them were also killed on the same disastrous plane flight. Two survived, and went on to recruit & reform what we have here.

“Nightcrusing” with a funky bass beat and steady drums. I am quickly reminded of Michael Jackson, with a touch more generic disco elements (hand claps and staggered rhythm). The tempo is not as quick and fun as Jackson; I imagine this as more of a roller-disco song. The chorus is catchy enough, and features multiple vocal sets as well as a whoa-oh-whoa hook. “Hit & Run” features a funkier, slower, and slinkier synthetic rhythm. The tempo holds throughout the song’s entirety. The synthesizer is squeaky and distracts from the song…or perhaps it grips your ear in place of the song. The repetitive chorus does go on, and even without the vocals, the chorus is still a bit grating on the ears.
“Feels Like I'm Falling in Love” is the ballad on the album. It begins with smooth jazz trumpet, and breathes a little life with stronger trumpets. The tempo raises it above a simple sexy make out song to an anticipating, love-in-mind, fantasy scenario.
“Freaky Behavior” has the same backing bass beat to “Superfreak,” and thus, “Can’t Touch This.” Even the singing is like Rick James. Checking the dates, these songs came out the same year. I don’t know how these two songs were created with the same song topic, same basic beat, and same vocal style. This song just does not have the catchy change of intensity for the chorus. In that aspect, it is a one dimensional version of “Superfreak’s” verse. The instrumental break about 3:30 is interesting, as it introduces new instruments to add to the basic beat for a brief stint. The song is a little long though, as it should have ended about 4 minutes, but it is stretched out with more and more slight additions and subtractions to the main rhythm.

“Touch Tone” begins as a fun bouncy new wave song. Then brass is added and a quirky synth and it becomes a fun disco dance song. The content is basically a bathroom wall etching: “for a good time call.”
“Unforgettable Dream” is another ballad, but this song feels much more soulful. It is pretty soul, not over produced with jazzy brass or an orchestra of strings. It is classic format of the lead singer calling out his love with a backing vocal chorus echoing the singer’s sentiments.
“Traffic Jammer” is another funky synth r&b disco dance song. It kind of reminds me of Sting’s “We’ll Be Together” with Toe Jam & Earl funkatron effects.
“Backseat Driver” continues the odd effects parade with a duck/kazoo sound over the distinct 80’s squeally synth keyboard sound. The progression of the song builds nicely, and falls back to repeat the section. It is all instrumental, with the exception of some Yeaows, woo-woo-woos and other babbling banter.

Stand Out Track: Freaky Behavior (for its similarity to "Superfreak")

Links:
Allmusic
Wikipedia
Discogs
Myspace
Last FM
Concord Music Group
Funky 16 Corners
Stax Records
Find Articles
Mahalo
McGillis Records

Thursday, November 5, 2009

(the) Judybats - Native Son

Name: The Judybats
Album: Native Son
Year: 1990
Style: Adult Alternative
Similar Bands: Ocean Blue, Pixies, Game Theory, Gin Blossoms, Cocteau Twins,
"One-Word" Review: New-Age Gothic Pop
Based Out Of: Knoxville, TN
Label: Sire, Warner Bros., Time Warner

Native Son - Cover, Notes & Tape

Native Son - Liner Notes & Tape

Native Son(1990)

Native Son 3:18
Daylight 3:18
Convalescing in Spain 4:07
Don't Drop the Baby 3:41
She Lives (in a time of her own) 4:05
Incognito 3:02/
In Like with You 4:04
Woman in the Garden 3:59
Waiting for the Rain 4:07
Counting Sheep 3:25
Perfumed Lies 3:43
Wanted Man 4:45

Album Rating (1-10): 5.5

Members & Other Bands:

Jeff Heiskell - Vox (Heiskell)

Timothy Stutz - Bass, Vox (High Signs)

Peggy Hambright - Keys, Strings, Vox, Design, Illustration

Greg Calbi - Mastering

Terry Casper - Drums, Design

David Cook -Additional Engineer

Richard Gottehrer - Production

Chris Laidlaw - Mixing Asst.

Jeffrey Lesser - Co-Producing, Engineering

Jeff Lippay - Asst. Engineer

Johnny Sughrue - Guitar, Vox, Photograhy

Ed Winters - Guitar
Dennis Oppenheimer - Management

Unknown-ness: I know I’ve heard of these guys before I bought this tape, but have never really listened to the tape and don’t know how they sound at all. I’m sure I saw, read about or heard them in some alternative magazine, on W-DRE, 120 Minutes or post modern PST. I also like the artwork on the front of the tape. It reminds me a little of Edward Gorey, and that coupled with the italicized album title make me think that this will be a musically complex/dense adult-alternative album with a gothic tone.

Album Review: It seems that the band was plagued with label disagreements and unhappiness that lead to the demise of the band. Included in the allegations was that the label rudely asked Peggy to lose weight for the image of the band.

“Native Son” begins with bass, and a comfortable melody that reminds me of the Pixies. The male lead and female backing vocals are harmonized together and double layered in the (at the time) popular fuzzy and not quite solid way that prevents you from putting your finger on the actual voice, or how many there are. There are a slew of guitar effects that are used to create depth in the sound.
“Daylight” flows from the acoustic/electric guitar beginning. Like a singer songwriter demo, and perhaps a little like the Gin Blossoms, but not in an extremely terrible way. The vocals are cleaner and stronger, yet still layered and grouped with a chorus in the background. The speed of the singing in some verse sections reminds me of the quick pace that XTC uses on occasion.
“Convalescing in Spain” begins with a harpsichord sounding guitar, and a wha-wha bass. The song then changes gears and becomes an energetic driving pop song like the Bongos/Cucumbers Hoboken early 80’s scene. The vocals possess over- accentuated nasally syllables in each line ending accent. It kind of reminds me of Presidents of the United States. The song’s tempo changed throughout the song and piano is incorporated when things slow down.
“Don't Drop the Baby” is a slightly gothic (thanks to the bass and synth) melody that floats on by via a crystalline breeze. Musically the soundscape they are trying to meet is a pop version of the Cocteau Twins. The song is anthemic.
“She Lives (in a time of her own)” also used the echoing vocals, which are delivered with a powerful prog-storytelling style. The synthesizer keys buried in the background and are less new age, but it still feels meandering and the whole song feels overly complex.
“Incognito” starts with a liquid crystal guitar, medieval and minstrel in the way it is used behind and to accent the vocal melody. This is the quiet lighter raising ballad…or perhaps oversized candle and dream catcher raising ballad.

“In Like with You” begins with more watery sounding happy pop guitar. It has a nice build to the chorus, and the bridge increases the anticipation, and it does deliver well, however, it is not a very long delivery, and the cycle begins again. The instrumental brings us back to the new age mystical trance. This could be a very different song, if it were recorded with a faster punk production, which is very possible, given the progression of the sections.
“Woman in the Garden” is not quite a ballad, but definitely not a pop song. It is a slithering wispy gothic prog song. The song is pretty boring in its stale beauty.
“Waiting for the Rain” is more poppy and fun, but it employs this keyboard effect that sounds like an electric cat whining. It is part bell, and part liquid, but all annoying when the note is held and wavers. There is a chugging guitar in the background that sounds like The Police, and the vocals are fluid and possess a great melody. Then there is the angelic chorus at the end that is followed up with Christmas like synth bells. And the song ends with that terrible effect.
“Counting Sheep” has a fun late-Clash like rhythm to it in short verse sections, but it also uses more cheesy 80’s sounding effects that push it into the realms of new age than pop. And anything fun or catchy is replaced and sucked out with the choices of synth effects.
“Perfumed Lies” features a terrible synth steel drum. The song is nice, uplifting and refreshing: just pleasant. It is not complicated or deep, and ends up feeling a little like a late period English Beat song. This song would do good being sung by Morrissey.
“Wanted Man” begins with echoing anthemic chugging guitar…oh and some new age whistling to suck the life out. Then, for no good reason it added a synth violin that is played at jilting moments. But the song itself is good, driving pop.

The album has promise and the songs could be really good and catchy, if it were not bogged down in the style and odd appeal of the synth effects they decide to use & enhance the songs. Really, the little effects are too distracting and they take away more than add.

Stand-Out Track: Native Son

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