Review: Cotton Mather - Kontiki (Deluxe Edition)

I'll set the scene:

It's December, 1997 and I'm living in the Washington, D.C. area. The daily mail has brought into my greedy possession the new Cotton Mather album Kontiki, and I take it, sound unheard, over to my buddy Tony's place. Tony, a sometimes Austin resident, had introduced me to the Cotton Is King album a couple years earlier and I decided to pay back that kindness by listening to the new album with him over a few beers.

We slip the disc into the player and press the little green triangle... and are transported.

So, it is safe to say when it comes to Cotton Mather I was an "early adopter." The success the album enjoyed, at least in Britain, was heartening to see, though I don't think I appreciated the cult status the band and particularly Kontiki was developing. It only dawned on me years later just how few people had actually bought the thing when it was available, and, if the prices copies were commanding on Ebay were any indication, plenty of people were lamenting that fact.

Well, now they have the chance to get it right, because 15 years after its first release Kontiki is available again, this time in a Deluxe 2-Disc edition. It is hard to think of an album from that era more deserving of such a classy rebirth. And, classy is exactly what this package is. It starts with an attractive and informative 24-page booklet, which contains not only an overview of the recording process, with remembrances from most of those involved, but also notes on all the original tracks as well as the bonus material.

The album itself sounds as fresh as the day it was released proving, as if it needed it, its status as a seminal 1990's power pop classic is well deserved. I cannot say if the sound quality has been improved on this release as I'm not really an audiophile. Rest assured, it still kicks ass.

The bonus material is well worth the purchase price for those who already owned a copy of the original release. The demo versions of Kontiki songs are sufficiently different to make for engaging listening. Tracks like "Little Star" and an amped up version of "Altar Boy" (a track from their wonderful Hotel Baltimore EP) shine here. The inclusion of the wistful "Innocent Street" is a perfect gift for those who preferred the mostly Squeeze-ish sounds of their first record. Indeed, the bonus material is so good the disc will be listened to in its own right and not just as a curiosity.

Do yourself a favor. Buy this album.

Grade: A+

Review: The Well Wishers - Dreaming Of The West Coast

Consistency is a great thing, especially when it comes to artistic endeavors. Musicians so often are afflicted with wild swings in mood, temperament, interest level or even taste that their work can be a roller coaster of thrilling highs and disappointing lows. As a result the artist that puts out consistently good work is something to appreciate.

Jeff Shelton's project The Well Wishers was a prototypical example of such consistency.

Until now.

Dreaming of the West Coast is not a solid body of good work consistent with the rest of The Well Wishers' catalog. No, its way better than that.

From the first note of the jaunty opener "Escape the Light" to the fade out (and fade back in) of the wonderful Sugar-esque album ender "Mother Nature" Shelton is firing on all creative cylinders here. The result is the first Well Wishers album that really doesn't lend itself to the easy comparisons (for example The Posies) that would have sufficed when reviewing the earlier albums. The influences are so organic here it winds up sounding most like itself.

Thus you can hear the glam rock beat in the track "Tonight" but the song itself is something entirely different. This high quality in the songwriting stands out throughout the album. The introspective tunes "Nothing Ever Changes Around Here" and "Truth Is Coming Home," as well as the blistering "All I Got" deserve special mention in this regard. Add a fab cover of Smoke's "Have Some More Tea" and you are in "more fun than a barrel full of monkeys" territory.

Grade: A

Speaking Of Kickstarter...

...I recently supported a project called Jarinus, made up of Jarret Reddick of Bowling For Soup fame and Linus Doton of Linus of Hollywood fame. (Which reminds me I forgot to put a widget for Jarinus up on here. Oh well, they made their goal with room to spare without it.) As part of the package the guys answered a question via mp3 that I had put to them. It's fun.



Linus has always been a good friend to the station, going out of his way to make nice promos/bumpers for the Pub, which I still use because they are awesome.

Keep your ears open for Jarinus. It promises to be hugely entertaining.

Don't Get Me Wrong...

...I love what Kickstarter does, as shown by the fact I've contributed to a couple of successful projects - and one unsuccessful project, the sadly under supported Smith Bros. album.

However, whenever I peruse the site I begin to feel like I've stumbled into a Portlandia sketch.

"P.S. I Love You"

My Beatles criticism project continued:

From the first 5 seconds of "P.S. I Love You" it is clear that we are not in the realm of rock music. There is no steady back beat, there is no hint of a blues sensibility in the music, and there is no energy behind the vocals. What if left is a rather watery pop stew that leaves this listener unsatisfied, and hungry for something else.

Paul's lead vocals have center stage here, filled out by George and John's backing vocals. The lyric carries the conceit of a love letter written by an absent lover throughout. The basic idea has been good fodder for rock artists right from the start, but here it is pap. There is nothing of the uncertainty and anguish that fuel a great rocker like "Please Mr. Postman" or "The Letter." Instead, we have the most dutiful of boyfriends telling his girl (presumably) exactly what she wants to hear. ("Remember that I'll always, Be in love with you") ("I'll be coming home again to you love, Until the day I do Love, P.S. I Love You, you, you, you!") I know we have all come to expect Paul to be a little spineless, but here it is extreme.

The instrumentation gives the song nothing but the lightest of touches. Ringo (or Andy White) hits nary a snare, and the guitar sound is safe enough for the Lawrence Welk Orchestra.

After about 1 minute and 20 seconds of this, Paul seemingly remembers "Hey! I'm in a rock and roll band!" and begins to add totally incongruous vocal flourishes. The background vocals coo "As I write this letter", Paul yells "Oh!" (Although this could be John's voice....it's hard to tell.) "Oh!"????? Gee, letter writing isn't usually considered so sensual an experience. The cooing continues "Send my love to you" to which Paul answers with a guttural "You know I want you to remember!" which sounds phoned in from another song all together. But after these moments the song resumes its lackluster character to its "You! You! You! - You! You! You! I Love You!" finish.

Ouch.

The Pure Pop Pub's Top 15 For 2011

I know, 15 is a weird number. In any case here they go:

1. Wild Bores - Welldone & Charred
2. The Smithereens - 2011
3. The Red Button - As Far As Yesterday Goes
4. Bic Runga - Belle
5. Scott Gagner - Rhapsode in Blonde
6. Meyerman - Who Do You Think You Are?
7. Fountains of Wayne - Sky Full of Holes
8. Peter Baldrachi - Tomorrow Never Knows
9. Wiretree - Make Up
10. Secret Powers - What Every Rose Grower Should Know
11. Tim Butler - All The Rest
12. The Wellingtons - In Transit
13. Buffalo Tom - Skins
14. Gary Ritchie - Hum, Sing....Repeat
15. PopFilter - Pop This!

Some of these I've not had a chance to do a full on review for. I hope to change that at some point in the future.

Review: Fountains Of Wayne - Sky Full Of Holes

This is a power pop blog. Did you really think I could not review the latest Fountains of Wayne album? Its inevitable, just like death, taxes and Beatles re-releases.

Luckily, for us, Sky Full Of Holes is inevitably good.

If you have heard any of the previous FoW albums, nothing here should surprise you. For all of the talk of "new found" maturity and "serious subject matter" you could read about in the mainstream music press, FoW fans will see more continuity than change. This is fine with me as Collingwood and Schlesinger are about as consistent a pair of tunesmiths as are working today.

OK, to say the album is good is no great surprise either. The question is how good is it? For my money, pretty damn good. I would certainly rate it higher than their previous effort Traffic & Weather. In fact, there are a couple of songs here (namely "A Dip in the Ocean" and "Acela") that come off as "improved" versions of tracks off that earlier effort. It is almost as if they weren't quite satisfied with what they had done, and they wanted to nail it this time.

Mission accomplished.

There is probably a solid half dozen songs here that can rank with the best of their career output. "Action Hero" and "Hate to See you Like This" cranks up the pathos to eleven, but work beautifully. "Richie and Reuben" and "A Road Song" display their customary wit, with the latter's reference to Steve Perry generating a guffaw from your truly. "Cemetery Guns" continues FoW's run of interesting and lovely album enders.

My advice is to enjoy the hell out of this.

Grade: B+/A-