O Brother Where Art Thou

I've always had a thing for solo records made by guys who belong to a collective whose sum is greater than the parts, commercially speaking.

And this very bright and crisp November morning, Mr Postman once again had to face me in my dressing gown, to hand over yet another LP that has winged its way to my letter box. The eagerly ripped opened contents of the cardboard package revealed "Don Everly" the self titled solo album by the eldest sibling of the rock n' roll giants, the Everly Brothers. And what a great record it is. (And I'm not bragging, but I did snap up a white label promo copy of this classic from ebay for considerably less than a Chinese take-away..)

Even the briefest glance at the players on the album excites and intrigues; Ry Cooder on bottleneck guitar, Chris Etheridge on Bass, Jim Keltner on drums, Sneeky Pete Kleinow on Steel Guitar. Goes some way to show the esteem Don was held in back in the day.

I am firmly of the opinion that Don Everly has simply one of the best voices in pop, and like all the greatest vocalists of the 20th/21st Century, his vocal instrument is a rich mix of numerous genres; country, soul, gospel, blues etc. And yet his voice is unmistakably his own.

To the album.

You can hear Don relishing in the freedom this project has brought him from the Everly brand. It is a loose, vibey, after- hours, hip, soulful, stunning piece of work. Almost everything about it is effortlessly cool.

Let's look at the songs Don wrote first:

Eyes Of Asia Beautifully produced; clean and sparkling. With Sneeky Pete's steel guitar to the forefront, and group harmonies adding power to the choruses. This is a great little song, with a whimsical ambiguity to the lyrics. An impressive first taster of Don's songwriting craft here.

Don't Drink The Water Is a groovy, country- soul type number, Don in great voice, singing class material, great lyrics. Effective gospel style piano rumbling away. And the unmistakable bottle neck tones of Ry Cooder riffing all over this track. A really funky bass line too.

Safari The backing track reminds me a little of "There Goes Rhymin' Simon" era Paul Simon. Sophisticated, intelligent, yet always restrained. Brilliant backing harmonies, carefully arranged, a bit of a gem.

Omaha One of the most important cuts on the album. This is exactly the kind of song that I hoped one of The Everly Brothers would be writing, whilst fulfilling the never ending, grueling touring duties that being a member of one of the world's biggest acts entails.

"It's hard to remember Pittsburgh properly

It's hard to recall what I did in D.C

No vivid remembrance of things in L.A

The times and the places

Have all slipped away"

Great Production values on the later sections of this song, giving it almost a Phil Spector grandiosity.

February 15th-What a song. Could have come from the pen of a countrified White Album era John Lennon, it has that free form, stoned melodic haze. A triumph, and what a mind blower this must have been for any average Everly follower who bought the album expecting "Wake Up Little Suzie" etc. A real highlight for me.

My Baby Almost David Crosby early CSN feel here, imagine Don as part of Crosby's album "If I Could Only Remember My Name" and it might sound something like this. Great organ work and beautifully recorded acoustic guitars. A really challenging, trans genre composition, bold work.

I'm Thinking It Over Awesome, drum intro to this cut. Inventive chord changes, and Rolling Stones- ish (Exile On Main St era) vocals on the chorus. An unexpected rhythm change in the middle takes the listener by surprise too.

My Friend Another cracker. This would have worked a treat in a film like "Easy Rider," it has that droning, late 60s Byrds groove.

And so, on to the record's handful of covers:

Tumbling Tumbleweeds Those Crosby Stills and Nash harmonies are really evident here again. A prime example of just how innovative even the most hackneyed country standard could be under the direction of the eldest Everly. Every aspect of this performance is class, and Don sings the hell out of this chestnut.

When I Stop Dreaming This could be boring as hell on someone else's album, but the vocal and band performance launch it into the stratosphere. Don plays teases and corrupts the melody with a jazz singer's sensibility. A master-class in interpretation.

Sweet Dreams leads off with a charming musical nod and a wink back to simpler and maybe happier times, with its straight ahead Fats Domino style boogie piano. The track has always been one of my very favourite songs to come from the prolific pen of Don Gibson and in fact Don had already tackled it once before with his younger brother, on the dazzling though unimaginatively titled "Everly Brothers Sing Great Country Hits" album. Here, it is a great album closer, a triumphant band performance, and a soul charged yet respectful vocal from Don.

Had this been a debut record from a long haired singer songwriter residing somewhere in or around Laurel Canyon, and released precisely when Don unleashed this; this music would have caused more of a stir than it did, and might even find itself a regular in "important record" polls today.

Personally, I'm just glad Don valued artistic expression over guaranteed income enough to make this wonderful record. The Everly Brothers would and could never be the same again after the release of this album. I'll leave the final word to the only Everly brother absent on this record

"I don't really know what prompted Donald to do it."

Details:

Artist: Don Everly

Album: Don Everly

Label: Ode/ A&M SP 77005

Year: 1971

Smothered In Love By My Nanny

Another piece of East London charity shop treasure exhumed at last...

The cover already had me beguiled, intrigued and yes, very, very excited. Any record that has

"Dedicated in Honour of the Royal Wedding of Prince Charles and Lady Diana" written on the cover, has to be a sign of something rather special. So too, does any album that has telephone numbers of the band printed on the back cover.

The band "Sound Ceremony." The album "Precious as England." Early 80s.

Ahh, and then there's the song titles, here's some of my personal favourites

"Nanny," "Giggle Amidst The Tears," and "Smothered In Love."

How to describe the music.

Track 1 (the afore mentioned "Giggle") reveals lead singer Ron Warren Ganderton's Lou Reed overtones. The track is a hearty slab of electric guitars and reasonably understated synths. And a weird rhythm change/ break down part, that has this listener squirming every time it occurs, convinced that the rhythm section will never make it through intact. But somehow they keep it together on a wing and a prayer.

Track 2 "Shame On You" adds a considerably more shambolic feel to the proceedings. It kicks off like a pub band version of John Lennon's "Whatever Gets U Thru The Night" and quirky yet spirited female backing vocals adding a touch of mayhem to the experience. Ron's voice goes a bit Dylan-esque on this jerky sermon on infidelity. We hear you Ron, "Shame On You."

Track 3 has a really cool electric guitar riff, with atmospheric moog and various other synths wailing all theremin- like over the track. Ron moans "got to find the way out somehow.." It hangs together, just.

That brings us to "Smothered In Love." Oh god, it sounds like he's having a wet dream at the opening of this track, or worse, maybe he's wide awake. "Does it bother you that I stare?" Oh shit he's definitely awake. "I can't get my breath..." Listening to this is a bit like receiving an obscene phone call. And for all that it's absolutely glorious. The guitars and synths have switched their instruments to the "porn setting."

"Nanny," has to be heard to be believed. Boy, he loves his Nanny. I'd love to hear this tune played in a really rough bar in Stevenage or somewhere, and just watch the reaction of the audience. With a Keith Richards style guitar figure, tight bass and more sci- fi synth work, this one is a 'left of field' gem.

"You're Breaking My Heart" features a truly dreadful mix, horrifying synth stings constantly undermining any virtues the song may feature. Which aren't many...

"Precious As England." Imagine Phil Lynott, Lou Reed and add a bit of Timmy Mallet extolling the glories of living in England. More of those peculiar female harmonies give the title track of the album a celebratory feel, and every now and then, they nail maybe one note, and then go awol again.

Side 2 kicks off with the rockier "On Broadway." I like it, I'm beginning to warm to the 'recorded live in a practice room' sound of this lp. I hope they didn't spend too much money on this work. The frenzied chromatic guitar and synth riff, loony drum rolls and those girls voices again. Great drumming on the fade.

"Rock You To Sleep."

"I'm gonna rock you to sleep, rock rock rock " Not the strongest moment on the record. With a bizarre, seemingly never ending intro. Oh gawd, just when I thought the track was just a minor let down, one of the female voices comes on, trying to be suggestive, sighing and groaning in a really bored fashion. Imagine a sex scene in a Radio 4 afternoon play, but so much worse.

"Whisper" an acid- country; Joe Meek producing Charles Manson extravaganza. I wonder if I'm the only person who has listened to this track this year.. oh quick, the bass player and drummer get jazzy at the end.

"What Time Is It"

"Hours, minutes, seconds!" The percussion cupboard raided for this one, this is Sound Ceremony stretching their sonic palette and boring the world in the process.

"Father Grandmother Brother Uncle" Ron returns to his family theme explored with such memorable results on "Nanny." Actually this one is quite restrained; cool bass and drum interplay, and naff synth doing cool "Yes"-like things. I liked it.

"Memories" Moments of this sound rehearsed. Moments don't. A neat chorus, and the harmonies cook pretty good here.

And the last track. "London Paris Rome New York New York" Kicks off like a school band playing "Not Fade Away." An underwhelming end to an overwhelming album.

Details:

Artist: Sound Ceremony

Album: Precious As England

Label: Celestial Sound Production Rwg 0123

year: don't know!

Signed Beach Boys Rarity

Up until its closure for major refurbishment, I was the resident pianist/singer at The Savoy Hotel for 4 and a half years. In that time I met lots of heroes and made some priceless (to me anyway) additions to my music collection.

As a Beach Boys fanatic, I would have to put meeting one-time Beach Boy Blondie Chaplin, as a highlight. He was staying at the hotel with the Rolling Stones entourage, as he was playing guitar and singing harmony with the band (late 2007?) and since I knew he'd more than likely be popping into the American Bar (where I played) at some point during his stay, I sneakily kept a quite rare Beach Boys picture sleeve single (that featured Blondie on the cover) in my bag, ready to produce it for signing at an opportune moment. Actually the record is a beauty, and quite unusual, in that it features a unique Beach Boys lineup on the cover photo; (l to r) Blondie Chaplin, Al Jardine, Mike Love, Daryl Dragon, Dennis Wilson, Carl Wilson and Ricky Fataar.

I'm really not a pushy person, and the whole planned enterprise had me feeling quite uncomfortable to tell you the truth, but, record collecting does strange things to a person's character.

Anyway, the night in question arrived, and sure enough, Blondie and various other Rolling Stone band team members were cooling off at the bar.

My plan quickly fell into place.

Firstly, I played and sang my own hastily improvised version of "Hold On Dear Brother" which caught his attention, in fact he turned to the barman and said

"Do you know who wrote this tune? I did, man!"

As my set came to an end I retrieved the record from my bag, and nervously approached him.

He was charming, and more than happy to sign the cover (right above his picture) and commented that he'd never seen this particular record before. I blurted out what a fan I was of his contributions to the Beach Boys, and he in turn complimented me on my music! A most satisfactory exchange.

I went home on a high, and the signed record, pictured at the top of this page, is one of my most treasured.

Details:

Artist: Beach Boys

Single: Marcella/Hold On Dear Brother (pic sleeve)

Label: Reprise 14183

Year: 1972

Walthamstow Without Umbrella, Men Without Hats

Walthamstow High Street. Much rain. Much soggy cardboard and sludge running in inky black rivulets down towards St James Street station. I needed to buy some records to re-point this bleak outlook. Oxfam sits at the very end of the pedestrianized market street, and I nearly always find a couple of records to warrant me wandering down this far into deepest, darkest, wettest East London.

Today I was rewarded with a satisfyingly seam- busting plastic bagful of vinyl beauties.

The one I'm listening to at the moment is the debut album "Rhythm of Youth" by Canadian band "Men Without Hats." I paid £1.99 for it. It has a great cover. It is in mint condition. I have never heard of them.

I retreat to my listening cave.

Lots of synths. I quite like it.

The vocals, (Ivan Doroschucks' I presume) remind me a little of Tim Finn's singing efforts for Split Enz. Occasionally wonderfully camp as on track 3 "Antarctica," and sometimes a bit 'Talking Heads-esque' as on the album's single and UK top ten "The Safety Dance."

Some of this stuff would go down a storm, loud and proud in some 'tight jeans' de rigueur Hoxton nite club.

The last cut from side 1 " I Got The Message" has just kicked off, and its really great. Almost an ELO feel to the chorus, a good tune and I dig the rhythm of the vocals on the chorus. Hmmm, my Monday afternoon mood has just been elevated. Will definitely listen to that one again

Onto side 2...

nice interplay between synths and guitars... some of the vocal lines on "Ideas For Walls" have a curious cod punk, folky sea shanty effect that I wouldn't want to hear too often.

"Things In My Life" is cooler again, more of a song.

Love the intro to "Cocoricci (le tango des voleurs)" sophisticated, and a sweeping soundscape, with posh hotel tinkling piano.

"The Great Ones Remember (Reprise)" sounds a bit like closing credits for a kids cartoon to me, and in my skewed sonic Universe, that really isn't necessarily a bad thing. A nice bubbly end to a cool listening experience. There are 2 or 3 tracks on here that I really enjoyed. Not bad for 2 quid eh? Will happily snap up more of this band if I spy any on my collecting safaris.

Details:

Artist: Men Without Hats

Album: Rhythm of Youth

Label: Backbeat Records BSR-5436

Year: 1983