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Fright night set list

29 Saturday Oct 2022

Posted by Dennis Pilon in Poprock Themepark

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Aimee Mann, B.A. Johnston, Bee Bee Sea, Clovis Roblaine, Justin Roberts, kiwi jr, Look Park, Pseudonym, Surf School Dropouts, The Amplifier Heads, The Freddie Steady 5, The John Carpenter's The Things, The Orion Experience, Timmy Sean, Vista Blue

Given the everyday horror of the past few years – war, pandemic, the political right – it’s getting hard for a humble, candy-fueled monster holiday to compete. Luckily we still have the music. This post celebrates fright night with a set list of seasonally appropriate tunes covering a good range of monster diversity.

Justin Roberts gets called a kids songster but I think his tunes are for everyone who’s not quite finished growing up. He’s fun and whimsical and not afraid to be silly. And his songs will get stuck in your head like that gum on the underside of your chair at assembly. His “Trick or Treat” captures all the action of the nighttime candy run from a kid’s point of view and thus is an appropriate opening to our proceedings. The Freddie Steady 5 also strike just the right seasonal mood with their spirited cover of P.F. Sloan’s “Halloween Mary.” They take the tune out its original folk rock register to deliver a more pub rock easy-going party feel. Let the party begin!

Justin Roberts – Trick or Treat
The Freddie Steady 5 – Halloween Mary

Alright kids, we know you’re mostly here for the candy but deep down you’re also up for a bit of fright. Time to bring in the monsters. Don’t worry, we’ll ease you in with the pleasant Byrdsian psychedelic  vibes of Pseudonym on “Before the Monsters Came.” Then the elusive and mysterious Clovis Roblaine sounds like he’s cooped up in his castle on a hill at the start of his “Monster Love.” But as he gets going we’re transported to what sounds like a 1970s riff on all those old cartoony drive-in movie monster encounters. Like Rocky Horror but without all the cross-dressing. Then there’s Timmy Sean’s “She’s a Monster” from his poprock musical A Tale From the Other Side where the creature sounds very 50 foot women-ish put through a serious ELO soundtrack filter. So far the monsters are pretty low on terror but come with popcorn.

Clovis Roblaine – Monster Love

One band reliably up for a holiday musical tribute is Vista Blue. “Boy Beast” is the flip side to their Halloween single release “Victor Crowley” and I liked this b-side just a bit more for its imagery and pulsing energy. The band also appear on Radiant Radish’s timely, pumpkin-approved collection Time of the Season. The whole album is great, it’s free, and it also includes a band called The John Carpenter’s The Things doing a mad rush of a song called “Here’s The Thing.” It’s poppy and punky with some great early 1980s synth background runs holding everything together. Aimee Mann’s “Frankenstein” is obviously on point for our theme. Do I really need much of an excuse to include anything by Mann? No. But listen to the sophisticated lyrics here amid a layering in of so many interesting musical adornments. Talent bleeds out of this gal like an open wound. Indie darlings Kiwi Jr. serve up some “Wicked Witches” because it can’t be All Hallow’s Eve without some serious sorcery.

Aimee Mann – Frankenstein

Now if we really want to move into more scary territory we’ve got to get to the zombie and vampire portion of our programming. Modern horror definitely leans on these two players to up the terror quotient. Sal Baglio uses his band The Amplifier Heads to bring The Band back from the dead with his spot-on Band-like reincarnation of their sound on “Zombie Moon.” Warning, things get a bit hairy near the end (as they should). During a zombie apocalypse it’s all too easy to forget your partner’s many co-dependent observations about your shortcomings. Luckily we have B.A. Johnston to keep us focused with “You Will Miss Me When the Zombies Come.” Not that you’ll remember. Ok, on to vampires with The Orion Experience’s disco poprock vamp of a tune “Vampire.” The ‘ooh ooh’s so remind of those creepy Tommy Lee Jones photo shoot scenes from The Eyes of Laura Mars. Tired of those impersonal representations of vampires? Italy’s Bee Bee Sea give them some personality on the rollicking “Vampire George.” I love the Together Pangea vibe on this performance, combining swing with hooks and just a touch of punky swagger.

Our last stop on the fright night scare tour is ghost city, just so the mood will linger. Copenhagen’s Surf School Dropouts are such a curious outfit. Are beaches in Denmark much like California? Because they’ve got the California beach sound down. And just how hard is surf school anyway? Whatever. “Attack of the Ghost Hot Rods!” takes us back into the fun zone of this holiday with goofy lyrics, sound effects, and killer guitar licks. By contrast, Look Park’s “I’m Going to Haunt This Place” is more mellow, a bit maudlin. Haunting really.

Well kids I hope the candy was worth it. Because soon the frights won’t end when the monsters take off the mask. They’ll just be starting.

A James Bond song redux

15 Friday Sep 2017

Posted by Dennis Pilon in Poprock Themepark

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Tags

Big Box Store, Freedy Johnston, Jay Gonzalez, Lannie Flowers, Look Park, Mike Viola, Ryan Hamilton, Songs Bond Songs, Wyatt Funderburk

Songs BondI don’t often get to use a word like ‘redux’ but when I do it’s definitely for collections like this. In Songs, Bond Songs: The Music of 007 twenty-five artists ‘restore, bring back’ and ‘present in a new way’ the entire canon of theme songs from the James Bond movies, with an accent on indie, poprock treatments. Why bother, you might ask? Well the Bond canon is unique in so many ways. The quality of the songs stretching over a half century is surprisingly strong and consistent. And, as is apparent from the performances on this record, they are open to broad and varied re-interpretations. Some performances here are fairly safe and unremarkable but most try to do something original with the basic raw material of their specific Bond song. I won’t comment on everything but rather just highlight what I think are the more unique, sometimes daring, and ultimately single-worthy remakes from the collection.

It makes sense to start with the ever-present James Bond Theme itself. Peppered throughout the various Bond films, often featuring wildly different arrangements and orchestrations, the theme never failed to raise audience excitement, at least for my crew of 1970s ten year olds. What different kind of treatment could possibly be offered up now? Well Lannie Flowers rises to the challenge, offering up a self-referential postmodern pastiche of the theme, including bits from songs that were themselves influenced by it. First, Flowers cuts up the traditional parts and puts them back together in a new and interesting way. The basic electric guitar hook is there and played just a bit faster with a nice trebly bite. Then at 1:13 he throws in a riff from McCartney’s “Live and Let Die” which ultimately segues into the orchestral Bond-ish intro that appeared on the Beatles’ American album recording of “Help” – brilliant and inspired!

Next up, the amazingly talented and criminally underappreciated Wyatt Funderburk’s cover of Bacharach and David’s “The Look of Love.” Is he Dusty Springfield? No, nobody can touch that goddess. But what we have here is a classy treatment that offers up some nice vocal and instrumental twists, vibing ever so slightly on the Pet Shop Boys at times. In the ‘didn’t see that coming’ department, Ryan Hamilton put out a very boppy poprock record recently (2015’s Hell of a Day) so handing him Louis Armstrong’s rather laconic “We Have All the Time in the World” might seem a curious choice. But it works. Sometimes spare, sometimes intricate acoustic guitar work undergirds Ryan’s spacious take on the vocal. Very car-top-down wind-blowing sunshine music. Shifting gears, can you be an undiscovered superstar? Because Mike Viola has it all going on: record producer, movie music provider, songwriter, recording artist, etc. But his synthesizer-laden remake of Carly Simon’s “Nobody Does it Better” highlights his impressive vocal talent. Ultimately, understated and ear-wormy.

What we see on this record is a tendency to downplay glamour and bombast, staples of the Bond music genre, in favour of subtlety and nuance. Take the Freedy Johnston contribution, for instance. Now personally I’d gladly listen to Johnston sing his grocery list – there is just something about the combination of his voice and acoustic guitar. But his re-imagining of Sheena Easton’s “For Your Eyes Only” adds up to more than his usual genius. He has such a light touch on the vocal and guitar, it lets the tenderness and vulnerability of song really come through. Another surprising cover featured here is Jay Gonzalez’s samba-inflected take on Duran Duran’s “A View to a Kill.” He really rescues this tune from its overwrought mid-1980s over-production, demonstrating there really is a song here and it’s a good one. Look Park’s cover of “The World is Not Enough” represents another rescue mission, this time recovering the hooks buried in the original Garbage version. Hard to believe this is the same song. But if ever there was a song doctor, it would Chris Collingwood from Fountains of Wayne, working here with his new vehicle Look Park. Last up on this Bond remake playlist is Big Box Store’s playful remake of Madonna’s “Die Another Day.” I had a soft soft for the original, even if it was a bit busy and overwrought at times. BBS strip away everything that is not essential, anchoring the song in what sound like the low buttons on the accordion. Eerie, haunting, and catchy.

Songs, Bond Songs is a creative project put together by Curry Cuts, some guys who seem to have nothing better to do than dream up kooky compilation ideas and then get a whole load of cool bands to go along with their crazy schemes. I say we encourage them.

Suzanne Vega’s Universe

22 Tuesday Nov 2016

Posted by Dennis Pilon in Poprock Themepark

≈ 4 Comments

Tags

99.9 F, Bonnie and Clyde, Did I Ever Love You, Fountains of Wayne, Freedom Fry, If I Were a Weapon, Leonard Cohen, Look Park, Minor is the Lonely Key, Popular Problems, Suzanne Vega, When the Heroes Go Down, You Want it Darker

universeSome people are feeling pretty low.  Now seems like a good time to visit the parallel but contemporary universe of Suzanne Vega.  I discovered her debut album in the discard pile of the first (and only) commercial radio station I ever worked at in Smithers, British Columbia.  It helped me survive that town.  There was something poetic and ominous, alienated and soothing about that record.  I spent a lot of late nights living within its sonic confines.  A poet’s job is to help us cope with a world gone wrong.  I think the Vega song for this moment is “When Heroes Go Down” from 1992’s 99.9F.  Right now, the hero is not really any person but that sense of hope that people like to have around.  It’s a catchy number, despite its message.

There are other people in the Suzanne Vega universe – really anyone with a poetic sense.  Leonard Cohen died the other day and some people on Facebook were like ‘what did he ever really do?’ or ‘tea and oranges are just escapism’.  I felt sorry for them.  Poetry is just politics that is out of phase, deliberately.  It directs our attention to things we might not otherwise see, even though they are often right before us.  Look Park’s front man Chris Collingwood understands that and excels at character sketches where the protagonist is unaware of just how much they are telling us, i.e. just how unhappy or unfulfilled they are.  As one half of the Fountains of Wayne songwriting team, Collingwood honed his craft over a number of records and it shows on his new vehicle’s self titled debut album, particularly on the exquisitely melancholy “Minor is the Lonely Key.”

Another wonderfully unpredictable act are the Franco-American band Freedom Fry, a duo that clearly take themselves only so seriously.  Their 2011 debut EP, Let the Games Begin, runs the gamut of influences from electronica to folk pop.  Since then they have continued to take a host of musical detours.  2012’s Outlaws maxi-single has them channeling an outlaw vibe, but in two languages.  “Bonnie and Clyde” has a lovely strolling quality, a poetically arranged, style-busting ballad that ends all too typically but gets there in an unconventional manner.  How wonderful to just go where the muse takes you.  Their new single, “Shaky Ground,” is also great, available in three different styles.

Coming back to Leonard Cohen, there is a lot of buzz about his deathbed release, You Want It Darker.  Sure, it seems Leonard Cohen great, in that dark poetic sombre singer-songwriter on the edge of death sort of way.  But 2014’s Popular Problems ranks as one Cohen’s best for me, both in terms of performance and material.  The sardonic “Almost Like the Blues” should put the rest any ‘this guy ain’t political’ rhetoric while “You Got Me Singing” speaks to the power of connection between two people at any age.  Musically, “Did I Ever Love You” is my favourite track, mournful and melodic at the same time –  it sounds like the end but really it speaks to impact of time spent together.

Let’s end on where we are going.  The only way from down is up.  Suzanne Vega suggests we may all be the agents of change, though not through obvious means.  In “If I Were a Weapon” she eschews the blunt hammer or gun for a needle ‘always pulling on the thread’ that is ‘always making the same point again’.  The point is, the stars will align again, and not just in the Suzanne Vega universe. https://poprockrecord.files.wordpress.com/2016/11/09-if-i-were-a-weapon.m4aIf I Were a Weapon

In this musical universe, digital lucre is one way to show these poets some love. Visit Suzanne Vega, Look Park, Freedom Fry, and Leonard Cohen online to check out their latest (or in Leonard’s case, last) releases and public appearances.

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