Everybody Knows It Was Me

Music Review: ‘Pop/Art’ by Adrian Bourgeois (Disc One)

Los Angeles-based musician Adrian Bourgeois has released a double-album containing 24 songs. Here we take a look at the first twelve songs on Pop/Art, to be followed shortly by another reviewer’s look at the remaining twelve songs.

Pop/Art is nothing if not ambitious, and it makes for a sometimes sprawling introduction to Adrian Bourgeois, who now lives in the greater Los Angeles area but earlier lived and performed in Sacramento and Elk Grove.

Pop/Art opens with “New December” which feels like a Paul McCartney song from the Beatles White Album melded with a track from the Beach Boys Pet Sounds album. This is a nice opening and it segues into “Time Can’t Fly A Plane”, a song that has an America-style (“Ventura Highway”) rhythm and feel. One of my two favorite tracks follows, “Everybody Knows It Was Me”, which hits the ears like a song that was inadvertently left off of Todd Rundgren’s 1972 opus Something/Anything?

“Pictures of Incense” made me think of both the Traveling Wilburys and of A. C. (Allan Carl) Newman, whose Get Guilty album was pure genius. “Jonah” comes off as Bob Dylan mixed with the stinging electric guitar work most often heard on a Matthew Sweet album. “Have It Your Way” is a ’80s pop-rock confection. It’s a treat, especially as it’s not too hard to imagine a band called Bourgeois Tagg playing this song back in the day.

When I listen to “Hanging Day”, I think of McCartney’s “Rocky Raccoon”, Tom Petty’s “Wildflowers” and Sting’s “Heavy Cloud No Rain.” It’s a haunting, yet fun, track that grows on the listener. “Aquarium” is my other favorite track on Pop/Art; it’s beautifully sonorous and sounds as if it was produced by both Brian Wilson and Phil Spector. The lyrics are also life affirming: “If you can’t be touched, you can’t be healed.”

It’s not too hard to see the line between Dylan’s Highway 61 Revisited and Adrian’s “Too Much Time.” Think of a speeded-up rocking and rollicking variation on the classic “From a Buick 6.” As Sir Paul would say, “Oh, yes!”

I tend to like songs on which I can hear and observe a musician’s influences, which is why I have focused on these particular tracks. However, I suspect that some will most enjoy the songs that demonstrate Bourgeois’ originality – the sui generis “Waterfalls”, “Don’t Look Away”, and the regretful heartbreak song, “My Sweet Enemy.”

These songs were created while Adrian Bourgeois lived in Northern California. It will be interesting to see the changes in life’s attitude brought about by a change in physical latitude – the move to Southern California. (More sunshine and less rain?) No doubt this will be apparent on his next offering. Until then, this aspiring work should satisfy more than a few discriminating music lovers.

Well recommended.

Joseph Arellano

Pop/Art was purchased by the reviewer.

The Waiting

Music Review: Benmont Tench – ‘You Should Be So Lucky’

Is Benmont Tench’s solo album just competent or is it more than that?

Benmont Tench has been in the music business for thirty-four years. As a member of the Heartbreakers, backing Tom Petty, there’s little doubt that this keyboardist’s first solo effort would display musical competence. But does it soar? Let’s take a look at the tracks on You Should Be So Lucky before arriving at a verdict.

The nearly 46-minute long album opens with “Today I Took Your Picture Down,” on which Tench provides a Bob Dylan-style vocal and lyrics: “Today I took your picture down…/The eyes that followed me around/Daring me to stare them down/Today I turned my back on you/The celebrated face that stole a piece of/Every soul that wandered through this place.”

There’s a piano sound that might have been inspired by the E Street Band. It’s a fine, confident opening that nevertheless fails to take off.

“Veronica Said” sounds as though it was recorded immediately after Tench had listened to Lou Reed singing “Sweet Jane.” Enough said.

“Eccor Rouge” is a film noir movie soundtrack-style jazzy piano instrumental. It manages to destroy whatever momentum had developed from the previous tracks. Boring. “Hannah” is a love ballad from the school of Mark Knopfler and Dire Straits: “Hannah, if this is a dream/The kind that don’t come true/You’re worth every mile I ever drove for you….”

“Blonde Girl, Blue Dress” was released as a single. It sounds like Tom Petty and the Heartbreakers with Mr. Petty on bass guitar and Ringo Starr on tambourine. It’s catchy but not quite exceptional.

“You Should Be So Lucky” is the title song and it is the highlight of the album. It’s like a lost track from a Traveling Wilburys album and contains some adult-rated language.

Tench covers the traditional “Corrina, Corrina” using Dylan’s arrangement. It comes off as flat; it does not whistle or sing. “Dogwood” is a song with religious connotations that, like its protagonist, is pretty much without direction.

“Like The Sun (Michoacan)” is a very good, very short, track that brings to mind a contented George Harrison. Unfortunately, it’s followed by “Wobbles,” another instrumental and another throwaway. On “Why Don’t You Quit Leaving Me Alone” Tench sings: “Every radio station plays the same forsaken song….” They probably would not play this Randy Newman knock-off.

“Duquesne Whistle” concludes the album. Dylan’s original bouncy version displayed moxie and sly charm, qualities that are mostly absent here. The life has pretty much been removed from the song, which is a shame. It’s a less than satisfying ending.

This album might appeal to those who are attracted to laid-back, understated and low energy recordings. However, for most listeners I fear it’s the equivalent of going to Starbucks and being handed a cup of unleaded coffee.

Joseph Arellano

A review copy was provided by the record company (Blue Note).

This article first appeared on the Blogcritics site:

http://blogcritics.org/music-review-benmont-tench-you-should-be-so-lucky/

Music Review: The Olms

Is the debut album from The Olms a hit, a miss or something in between?

If you missed the rock music era that ran from the mid-60s through to the end of the 70s, you can catch up to some extent by listening to this eclectic collection of 10 retro songs from the Los Angeles-based group The Olms. The Olms are Pete Yorn, who gives off something of an Owen Wilson-crossed-with-Ray-Davies vibe, and J. D. King, a combination of George Harrison and Michael Clarke (the late Byrds drummer) in appearance. It’s perhaps no accident that you’ll hear echoes of The Kinks and The Byrds in their music.

This debut album runs a couple of seconds less than a half-hour in length, and it was recorded on analog tape. Listening to the CD sounds like you’re hearing a cassette version. Whether that’s good or bad is up to the listener, but it adds a period touch to the release.

Here’s a quick look at the tracks.

“On the Line” is like The Traveling Wilburys (“End of the Line”) mixed with the Kinks. The megaphone vocal is by King, while Yorn contributes Davies-style background vocals. “Someone Else’s Girl” could have been a track from Damn the Torpedoes by Tom Petty and the Heartbreakers. There’s also a touch of The Beatles’ “Things We Said Today” in the song. The music sounds like a weekend drive through Los Angeles. Blissful.

“Twice As Nice,” the first-ever Yorn/King composition is an uplifting song that calls to mind The Beach Boys and America. “Walking down Record Street at night….” Clever. “Wanna Feel It” is the single, which has a nice rhythm but ultimately goes nowhere. All promise and no delivery, which is perhaps why it ends abruptly two-thirds of the way through and segues into “A Bottle of Wine, etc.” This sounds like a late-period Byrds song that might have been included on either Sweetheart of the Rodeo or Dr. Byrd & Mr. Hyde. It melds beautiful lyrics with unique and playful instrumentation. “It’s a lonely world without the one you want.” Sweetly melancholic.

“Another Daydream” is a Pet Sounds-style song with a beautiful melody and the strangest lyrics since “A Horse With No Name”: “Koolaid sheik wandering the desert/Stranded in time feeling alone/Cold sweat drying in the garden/Cactus flower saying hello.” What?

“Rise and Shine” is by far the weakest song on the album. And it’s meaningless. “I check the kitchen but there’s no one there/I start the engine yet go nowhere.” This might have served as a throwaway track on an album by The Monkees.

“What Can I Do?” is Yorn’s full-on Ray Davies act. “You know it’s useless baby we can’t say goodbye/We’re going to be together till one of us dies!” “She Said No” is King’s gruesome yet entertaining song. It’s his serio-comic version of Neil Young’s “Down By the River.” “Only One Way” might have been the last track on a Byrds album. The lyrics say, “We’ll see you next time.” Yorn channels Davies again while King’s guitar work combines George Harrison and Roger McGuinn.

All in all, The Olms is a mixed effort. The album has some high highs, but they’re counterbalanced by some very low lows. Although Yorn is quite a good drummer, the energy level is off compared to their live performances (Google the olms kcrw). When they played these songs in a live session at Apogee Studio for the KCRW audience in Los Angeles, there was a spark, a sense of joyfulness (Yorn played the opening chords to The Kinks’ “Lola” and sang a fine cover of “Love Is All Around” by The Troggs), and a love of life and playing that’s absent in the flat-by-comparison album versions. The songs were also played at a faster pace when played live.

It’s a shame that the excellent KCRW concert was not taped and released as the debut effort by this group. Still, The Olms serves as a heartfelt tribute to days gone by.

Joseph Arellano

A review CD was provided by a publicist. (Photo: Justin Wise/KCRW)

This review first appeared on the Blogcritics website:

http://blogcritics.org/music-review-the-olms-the-olms/

The review was also used by the Seattle Post-Intelligencer:

http://www.seattlepi.com/lifestyle/blogcritics/article/Music-Review-The-Olms-The-Olms-4849307.php