BW's Saturday #17

 

My Last Lemon Twigs Post...For Now

 

 

You don't have to be Nietzsche to figure out I am a fan of The Lemon Twigs. I have been singing their praises since that first late night T.V. appearance several years ago when they were still teenagers.  Some of you heard what I heard. Many of you did not. And in listening back to those first three records, I can understand how much of it was a bit hard to swallow. Still, it was the Twigs audacity that kept me listening. I heard musical genius underneath the insanity. Some of my favorite artists of all time took chances and occasionally fell on their asses.

But last year's "Everything Harmony" was a life changer, both literally and figuratively. Even the D'Addario Brothers themselves called some of their early work "naive." But on "Everything Harmony," it seems that Brian and Michael grew up, offering a collection of stunning folk pop that evoked the best in that field, with melodies and harmonies rivaling greats like Simon & Garfunkel and The Mamas & The Papas. It was a critical success, as well.

Now, a year plus later, the previews from the new album have been nothing less than brilliant and it seems more people have finally gotten on board. The Lemon Twigs have taken that maturity and plugged it in, with pop candy that references everyone from the Raspberries and The Beach Boys, to The Byrds, The Who and their hero (and mine) Todd Rundgren.

"A Dream Is All I Know" is out today. I've been listening to it since Wednesday and I will listen to it some more, today, tomorrow and the day after that.

The band did not forget to leave some good stuff in the bag. With the exception of "Sweet Vibration," a fine but somewhat "twee even for the Twigs" pop concoction that just misses the mark and the closer, the Raspberries-ish "Rock On," that just doesn't rock enough, "A Dream Is All I Know" is one brilliant gem after another. Listening to it felt like I was riding in my father's 1968 Pontiac Catalina, with the AM radio dial tuned to the summer countdown.

"Peppermint Roses" finds the brothers hitting their "Nuggets" boxed set, and the Sean Ono Lennon collaboration, "In The Eyes Of The Girl," is in a word, stunning. 

Most of what I read so far about this new record has been the same, with many already calling it the "Record Of The Year." It's only May, but I can't imagine a better collection of hooks, melodies and harmony coming along and knocking this down a peg.

 

 
And in case you missed it, check out this Zapruder-like footage of the Twigs covering "Good Vibrations." Yeah, it's B+ quality, but that shouldn't stop you from enjoying the A+ performance.

 

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"Keep A'Movin, Dan": New Music From The Desert Nudes

 

Contrary to popular belief, it's not all brass bands and second lines down in New Orleans. They just happen to own brass bands and second lines down in New Orleans. Something new and really wonderful from New Orleans is the debut from a trio calling themselves The Desert Nudes. The album is called "Keep A'Movin', Dan," which if you are a sucker for cowboy songs like I am, you will recognize as a lyric from the classic Sons Of The Pioneers' song "Cool Water." That song, as well as a few more legendary western classics can be found alongside Desert Nudes originals on this excellent new album subtitled "Songs Of Hydration, Vigor, Horses & Wide Open Spaces."

The band is a collaboration between keyboardist Andre Bohren, guitarist John Paul Carmody and vocalist David Pomerleau and I loved every minute of it. Close harmony, solid playing, and a subtle sense of humour, plus killer versions of "Tumbling Tumbleweeds" and "Home On The Range" make "The Desert Nudes" a favorite of the year.

 

 

New & Improved: St. Vincent Is Back

 

The first three previews from St. Vincent's just released "All Born Screaming" set a very different table for what has been served over the nine track, 35 minute new record. I had been expecting, hoping actually, for a loud, occasionally violent Nine Inch Nails-inspired album, much like the first single "Broken Man," or at the very least, a ballsy, dance-oriented record--think Prince when he's nasty--like the third single, "Big Time Nothing." As it turns out, those first three singles are the only songs that sound the way they do.

Disappointed? A bit. Am I unhappy? Not at all.

"All Born Screaming" after three spins feels like one of the best records of 2024, and certainly one of Annie Clark's best.

Side One is a perfect 5 out 5, featuring the aforementioned three singles, as well as the gorgeous opener "Hell Is Near," which evokes early Genesis, Kate Bush, and Roxy Music's "Avalon." 

 

I initially had problems with Side Two, mostly because of the last two tracks. "So Many Planets" is a bit clumsy lyrically and the cheap faux-reggae beat got under my skin. And the title track which closes the festivities has a similar 80's vibe before it veers into a strange, overlong coda. But first we have "Violent Times," Annie Clark's possibly inadvertent James Bond theme, which got better on the second spin and even better on the third.  "The Power's Out" is another beautiful melody sung over an eerie, Angelo Badalamenti backing track that I found really affective. And "Sweetest Fruit" again calls to mind Kate Bush over an early 80's Peter Gabriel rhythm. 

Losing producer and someone who is fast becoming more famous for lobotomizing the artists he produces, Jack Antonoff, was a big plus, as St. Vincent seems to have gotten her mojo back. "All Born Screaming" works better taken as a whole, the way an album should and I am thrilled Annie Clark is back. 

James Booker & The Coasters

 

 

The Coasters did most of their chart damage between 1956 and 1960 while residing on the Atco label. In 1967, they released two singles for Date Records, neither of which charted from what I can see after about 11 seconds of research. I only discovered this after looking for some James Booker to listen to.

I have a fan made collection called "Hired Hands," which is about 30 tracks that feature Booker either on piano or organ, and one of those tracks is a cover of Alvin Robinson's "Down Home Girl" by The Coasters. I know heard it at least once before, but that was over 20 years ago when I first received the compilation. I remembered nothing about it. 

I think it's pretty damn great, with a very slinky New Orleans/Allen Toussaint vibe happening. And I think it was originally the b-side of that 1967 Date single.

Most will remember either the Rolling Stones version or Robinson's original. But I think this might be better than either.

Songs Of The Week, 2024: 4/20-4/26

 

Lips Like Sugar- Echo & The Bunnymen
Only When I Dream- The Bobby Fuller Four
Poor Little Girl- George Harrison
Child Of The Moon- The Rolling Stones
Can I Change My Mind- Hortense Ellis
Too Late I Learned- The Spinners
Shoo Fly Marches On- Dr. John

zip