I interviewed Neil Finn a few years back and told him – off the record – that he and his brother Tim were ‘ordinary men with extraordinary talents.’ He replied with a chuckle, “I’ll take that!” While listening to the Deluxe 2CD Editions of all seven of Crowded House’s studio albums, I’m reminded about just how accurate my description of the Finns was… and is. While Tim and Neil are both exceptional at making music, their paths as artists have pulled them in slightly different directions. Tim has remained the more serious of the two while Neil still retains a playful energy that has been apparent since his days with Split Enz. Tim has always been the one ‘in charge’ (i.e. the big brother) while Neil has played the role of the more sensitive and unpredictable little brother. In a sense, he always seemed to be in awe of his older brother but not fully aware that he is every bit his equal. Regardless of commercial success, the Finn Brothers remain enormously talented and inspiring artists. However, I’ll focus on Neil’s Crowded House output for now (which includes a few significant appearances from Tim)…
December 15th, 2016 – Nashville, TN — FIERCE MERCY is an epic, cinematic step forward from singer-songwriter Colin Hay, most beloved for his intimate, confessional live shows but most widely known for being an influential and celebrated frontman. The range of artists who have chosen to cite him as a muse or who have found themselves on stage with him in the past year spans the genre landscape from heavy metal, to Americana, to Cuban rhythms and beyond. His inclusion as a playlist favorite from the likes of Metallica to The Lumineers reflects his continuing relevance and broad appeal.
So…. what do we have here?
A brand-skankin’-new album from The Beat? No, not Paul Collins and Co. – they are officially known as Paul Collins’ Beat. And no, not Dave Wakeling and Co. – we call them The English Beat over here. This album is actually by Wakeling’s former partner in crime Ranking Roger and his UK-based version of The Beat/English Beat. If you want to get technical about it, this album is by The Beat featuring Ranking Roger.
Are you thoroughly confused already? Sorry ‘bout that…
I honestly have no idea why Mental As Anything – the Australian Rock quintet – are not superstars. And if not superstars, they should at least be a huge cult band beloved by music fans around the world. Or, at the very least, adored by fans of classic Pop acts like Nick Lowe, Squeeze, Elvis Costello, etc. Now that the Mentals are just about to celebrate their 40th Anniversary in 2017, it’s about time that the world started paying a lot more attention to them. They are truly one of the finest bands to emerge from Down Under in the last… err… 40+ years! Their blend of rootsy Rock and melodic Pop places them firmly between Nick Lowe’s side of Rockpile and Squeeze circa ’79 to ’81. The Mentals’ quirky sense of humor also fits that same comparison. However, the band were/are their own ‘thing’ and comparing them to other artists is ultimately unfair. While their music is filled with liberal nods to Rock ‘n’ Roll’s past, they don’t sound like any other band, past or present. Sure, you can hear their influences but it is hard to pinpoint any particular artist that may have inspired them along the way. Mental As Anything are true originals. They evolved over the years, adding more elements into their sound but they have never deviated too far from the sound that put them on the Oz map.
Peggy Lee had been a successful jazz vocalist for 33 years before she went into the studio to cut LET’S LOVE for Atlantic Records in 1974. With a career dating back to 1941, Peggy was still a respected jazz vocalist even though her albums weren’t selling as well as they once had. When Capitol Records dropped her in 1972 after 15 years of continuous service (2-3 albums per year), some may have thought that Lee would have spent the rest of her career playing nightclubs and appearing on Jerry Lewis telethons, but luck was always on Peggy’s side. And this time, her lucky charm was the cute Beatle, Paul McCartney, who penned and produced the album’s title track. By this time, Peggy was in her mid-50s and her vocal performances were far more subdued and intimate, which lent themselves perfectly to this lovely, lilting melody. Sounding like something penned for the McCARTNEY or RAM album, the song is a haunting gem and definitely worth the price of the album alone. Thankfully, there are plenty of other great tracks to enjoy on LET’S LOVE. Melissa Manchester’s “He Is The One,” the Stylistics’ classic “You Make Me Feel Brand New” (penned by Thom Bell and Linda Creed), Irving Berlin’s “Always” and the Dave Grusin/Peggy Lee co-write “The Heart Is A Lonely Hunter” are other highlights. While the album might be classified as Jazz, there are definitely elements of Soul, Funk and Pop spread evenly over the tracks. Unlike many modern Jazz artists, Lee was open to taking chances and working outside the box during her career. In fact, her next album would consist of Leiber and Stoller covers! With musical assistance from Lee Ritenour, Dave Grusin, Harvey Mason, Chuck Rainey and others, LET’S LOVE is a fine addition to Lee’s vast catalog and certainly of interest to McCartney/Beatles collectors!
NOTE: This Wounded Bird reissue reproduces the Rhino Handmade edition and includes four bonus tracks from the same sessions including an alternate version of the title track.
Peace, love and pancakes,
Stephen SPAZ Schnee
Milwaukee’s Plasticland – founded by Glenn Rehse and John Frankovic (who has since left the band) – have remained unjustly overlooked for years… yet they have also been absolutely adored by critics off and on since they first formed some 36 years ago. The band has managed to stay on the fringe of the Alternative Rock scene but have never been fully treated like the Psych-Rock/Garage icons that they are. And I’m sure this review isn’t going to inspire a mass pilgrimage to the record store but if it piques the interest of a few of you, then we’re getting somewhere! Even though they signed to the esteemed Enigma Records in 1984, Plasticland couldn’t be bothered to cater to the mainstream. Their blend of Acid, Garage and Psych Rock wasn’t merely a tribute to the sounds that they loved – it was obvious that this music was part of their DNA. The band was capable of writing catchy songs with a built-in atmosphere that sounded both retro and modern at the same time. Perhaps that is why their recordings remain timeless today. Plasticland are to Psyche what The Fleshtones are to Frat/Garage Rock and The Cramps are to sweaty, swampy, primitive Rock ‘n’ Roll. They could have sold out in their early days and become ‘the new R.E.M.’ like a host of their contemporaries. Thankfully, they chose to stick to their guns and remain Plasticland.