{"id":80,"date":"2011-11-13T22:50:40","date_gmt":"2011-11-14T06:50:40","guid":{"rendered":"http:\/\/spclarke.com\/?page_id=80"},"modified":"2012-02-28T20:40:19","modified_gmt":"2012-02-29T04:40:19","slug":"80-2","status":"publish","type":"page","link":"http:\/\/spclarke.com\/?page_id=80","title":{"rendered":"GBU – 2005 – 03"},"content":{"rendered":"

Eric Matthews<\/a><\/h2>\n

\"\"<\/a>Six Kinds Of Passion Looking For An Exit
\n<\/em><\/strong><\/span>Empyrean Records<\/strong><\/span><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

Eric Matthews may not be prolific, exactly, but at least he is dependable. Though it\u2019s been seven and a half years since his last release,\u00a0Lateness Of The Hour,\u00a0<\/em>he has maintained rigidly high standards regarding production and the quality of his songwriting. With musical references informed by \u201860s acts, such as the Beatles, the Beach Boys, Love and Burt Bacharach, the Gresham native incorporates an unique and decidedly stylized musical world view, with ornate orchestrations and panoramic arrangements, all created with analogic intentions. As the liner notes proudly assert: \u201cNo computers were used in the production of this album.\u201d The implication being, it would seem, that all the notes on the instruments were actually\u00a0played, as opposed to being cut and paste pastiches, and that the vocals were literally double-tracked as opposed to being electronically doubled.<\/p>\n

In the eleven years since he broke on to the national music scene with Aussie Richard Davies and their duo Cardinal (and their sole, self-titled album), Eric managed to release two critically acclaimed solo ventures for SubPop. In the intervening years, he has become a highly sought-after side musician, playing with the likes of Tahiti 80, Smokey Reuben and our own James Angell- with whom he shares an affinity for gorgeous, off-kilter melodic excursions with moodily unorthodox lyrical content, although they are certainly two different artists.<\/p>\n

Not much has changed with Matthews\u2019 sound. His music is still embroidered with luscious filigree, layers of keyboards and guitars, with the occasional trumpet interlude, accordion or a chorus of thick vocal harmonies. (he sings all the vocals and, for the most part, plays all the instruments).\u00a0 His songs are serious and intelligent, thoughtful and thought-provoking. His voice is a high breathy whisper, not unlike that of the late Nick Drake. At times the effect is akin to \u201860s folkie Donovan fronting Roxie Music. But, at other times, he ably constructs piquant majesties of some lasting artistic merit.<\/p>\n

The first of the seven songs found here is \u201cWorthy,\u201d a song wherein Eric faintly recalls Ed Roland\u2019s vocal on Collective Soul\u2019s \u201cThe World I Know,\u201d with a lot of breathy, angst-riven emoting; while, lyrically, he sketches the parameters of a restless romance. The memorably pretty chorus is a slice of \u201880s-style Bowie- with a haunting backing vocal hovering an octave higher above the lead.<\/p>\n

Overwrought would be another good word for \u201cSo Overblown,\u201d as Matthews continues his vocal histrionics- distancing himself, somewhat, from the intimacy of his words. Whatever the case, it can be annoyingly cloying at times. Moony piano phrasings and wispy acoustic guitar are buffeted by an elastic lead guitar line and occasional trumpet interludes. A pleasant enough number that never seems to really go anywhere.<\/p>\n

\u201cCardinal Is More\u201d seems to refer directly to Eric\u2019s old band (which apparently broke up acrimoniously) and is much more accessible, because he sings the song in a less mannered, more straightforward fashion. And though that vocal is a bit distorted in places, it is still filled with real emotion and not some mere facsimile.\u00a0 The lyric and melody of \u201cUnderground Song\u201d briefly intersects with the Rascals\u2019 1967 hit, \u201cHow Can I Be Sure,\u201d on the line \u201cwhy must I be constantly failing.\u201d Angelic three part harmonies, reminiscent of those found on the Doobie Brothers\u2019 \u201cI Cheat The Hangman,\u201d decorate the simple acoustic guitar accompaniment.<\/p>\n

English Settlement<\/em>-period XTC comes to mind on \u201cDo You Really Want It?,\u201d while \u201860s flavored trumpets dance across the middle section like an outtake from Love\u2019s classic album\u00a0Forever Changes,<\/em>\u00a0with Eric\u2019s drippy vocals in the verses vaguely echoing Arthur Lee. Likewise, the turn on \u201cYou Will Be Happy, mirrors Brian Wilson\u2019s crying falsetto vocal on the Beach Boys\u2019 \u201cCaroline No.\u201d<\/p>\n

And, with a Beatles-esque \u201cPenny Lane\u201d opening, \u201cBlack To Light Brown\u201d dances on Eric\u2019s marching McCartney-like piano chops and a general sensibility akin to that of Jellyfish in the mid-90s (which isn\u2019t all that far-fetched, given that Matthews has worked from time to time with former Fishman, Jason Falkner). It\u2019s a short little ditty, mostly taken up with trumpet solos at the end.<\/p>\n

Eric Matthews is certainly the sum of his influences. That most of those influences are forty years old not only speaks to the longevity of the music created back then (for Eric wasn\u2019t even born when that music was originally released), but to the paucity of inspirational ideas that he has encountered in the interim. His talent is undeniable, if, at times, ineffable. It isn\u2019t genius that we have here, but it\u2019s the closest thing to it, these days, that we will probably see.<\/p>\n

\n

Rachel Taylor Brown<\/a><\/h2>\n

\"\"Jonah Days
\n<\/em><\/strong>Self- Produced<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

We last heard from Rachel in last June\u2019s issue of\u00a0TL<\/em><\/strong>, where she commanded attention for her album\u00a0Do Not Stare<\/em>; displaying an abundance of promise, both as a songwriter and as a singer of some considerable talent. With this album, that promise is most certainly fulfilled. Whereas the former album was a bit of a musical stew- combining numerous styles and elements, there is a decided theme to this album. This album is to music what John Sayles\u2019\u00a0The Secret of Roan Inish<\/em>\u00a0is to film: an enduring folk tale, rich with timeless images. Inspired and original<\/p>\n

The first five songs, especially, form a piquant little suite- suitably fitted with biblical imagery and a sense of windy gothic darkness, worthy of the Bronte sisters- while providing enough melodic turns on familiar musical settings to keep the songs fresh and new. Waltzes play a big part in the proceedings; with nearly half of\u00a0 the dozen songs found here dancing in variations of \u00be time. So, an old-time folk motif pervades- but it is not the only musical weft in the weave, as elements of rock, blues, gospel and country are plainly present- as are threads of medieval chant music, classical allusions and a general trend toward the antique.<\/p>\n

The album begins with the title track, in 6\/8 time, which evokes the biblical Jonah with lines such as: \u201cYou\u2019ve tipped the boat and no one saves\/These are your Jonah days\/You\u2019re in the whale and in the waves\/These are your Jonah days.\u201d Rob Stroup (Baseboard Heaters) adds guitar thickness to the mix, while bassist\u00a0 John Huckfeldt (Gravelpit, Jesus Presley) and drummer Derek Brown (also of Baseboard Heaters) provide a sure hand in the subdued rhythm section. Rachel\u2019s scintillating multitracked vocal harmonies blend spectacularly with a muted horn section; as the song seamlessly evolves from a country-flavored folk hoedown into a bluesy, gospel-tinged sendup of the highest order. Rachel\u2019s controlled, ballsy lead vocals are masterful, to say the least.<\/p>\n

\u201cJolyon\u201d is another beautiful little waltz about \u201cA good man, a sweet soul\/Jolyon\/An old man, a bank roll\/Jolyon\u201d over sweetly singing acoustic guitars (abetted by the ubiquitous Tim Ellis) and rolling piano arpeggios by guest Chris Robley (The Sort Ofs), while Rachel evokes Emmylou Harris, Shawn Colvin and the acoustic side of Tori Amos, with the shadow of Dolly Parton suspended above it all. Great. A ghostly tale, \u201cStones\u201d jangles like a pebble in a hubcap, with guest Philip Neuman (Oregon Renaissance Band) providing the wheezy lead on an instrument that sounds something like an oboe in heat. \u201cYoung David the Pitiful\/Carried a sack\/Stooped like a vulture\/Ruined his back.\u201d<\/p>\n

Another rollicking waltz, \u201cShe\u201d features a swooping \u201cI Am The Walrus\u201d cello, provided by Skip von Kuske (Carmina Luna) and round-toned clarinet by Theresa Schumacher. Delightful, Beatlesesque backing vocals by Rachel and Rob Stroup are abetted by Derek Brown\u2019s Ringo-like drum fills. Very\u00a0Abbey Road<\/em>. Rachel\u2019s slow, descending melody for \u201cNadine\u201d falls like a high leaf from a tall tree on a still day. The eerie tale of a sluggish plunge into something resembling madness. \u201cOut under\/The sidewalks\/Is plenty\/Of nothing\/And nothing\u2019s exactly what you get.\u201d<\/p>\n

Derek Brown\u2019s jungle toms drive \u201cHome,\u201d as, vocally, Rachel moves closer to Kate Bush territory circa her\u00a0Hounds Of Love<\/em>period, perhaps recalling \u201cWaking The Witch.\u201d And, when John M. Boyer steps in for the cantorial passage in the extended fade,\u00a0 Bush\u2019s \u201cRocket\u2019s Tail\u201d from\u00a0The Sensual World is\u00a0<\/em>suggested.<\/em>\u00a0A restless waltz, \u201cHappy\u201d weighs the uneasy balance between a wedding and a marriage. One is a ceremony, the other is a lifetime commitment. And with the hard glint of truth shining through the blinders, it\u2019s difficult to maintain the fantasy of the former, looking at the often rigid reality of the latter: \u201cPicked out the colors\/Purple and blue\/\u2018A bit like a bruise\u2019 said my mother\/She isn\u2019t convinced\/That I\u2019m crazy for you\/That I\u2019m happy.\u201d<\/p>\n

The joyous fast moving train, \u201cEast County,\u201d is a piquant paean to the vicissitudes of life some distance away from the city lights- which, in Portland, is something of an acquired taste: \u201cSister walks to the bus\/Every morning\/Past dead possums and lots of junk\/Ain\u2019t no sidewalks\/So she\u2019s right down in it\/Cars come close and make her jump\/You want something?\/You just cruise down 82nd<\/sup>\/They got everything you need\/Get your taco\/Maybe do some shopping\/We\u2019re open all night, you know.\u201d Stroup\u2019s pedal steel-like guitar backing adds a country twang to Rachel\u2019s earnestly ironic platitudes and homilies. Derek Brown\u2019s vibrant drumming and Huckfeldt\u2019s restrained counterpoint bass expertly hold down the rhythm in this vague, cornpone remake of Dire Strait\u2019s \u201cMoney For Nothing,\u201d (as performed by New Riders of the Purple Sage). A delightful song.<\/p>\n

\u201cLucky\u201d is a sprightly, twisted little ditty, with threats of ritualistic physical violence looming in the corners of the imagery. \u201c You know I never meant to maim- just scar for life\/And though you never looked the same, I kept the knife\/It\u2019s kinda weird how a simple tool can make you cruel.\u201d With oom-pah tuba and trombone creating an antique veneer, \u201cVenice Is Sinking\u201d is a three-chord homage to dreams and their fragile vincibility. Only a minute long, in essence, and obviously recorded at home on her piano (Rachel\u2019s cat makes its presence known, midway in the arrangement), \u201cCommencement Address\u201d serves as a piece of advice to a younger generation- and may be exactly what it purports to be: a wry introspection into the changes that befall everyone, eventually.<\/p>\n

Rachel Taylor Brown displays special talents as a singer and writer, with the ability to make her work stand out as being entirely original, while its roots remain firmly planted in familiar turf. With an able cast of supporting players, she has created an album of gravity and substance, haunting in its charm- memorable in the grandeur of its effortless simplicity.<\/p>\n

\n


\n<\/a>Dylan -Thomas Vance<\/a>\u00a0and\u00a0Griff Bear<\/a><\/h2>\n

\"\"<\/a>Live At Biddy McGraw\u2019s
\n<\/em><\/strong><\/span>Triple M Records<\/strong><\/span><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

Over the past few years, guitarist Dylan-Thomas Vance has shone steady stylistic improvement, displaying an affinity for delta blues, bluegrass and country, while quickly mastering lap slide guitar arrangements that have been in the vernacular for nearly one hundred years. Releasing a couple of albums in the past few years, this is a live recording of Dylan\u2019s guitar work- aided and abetted by fiddler Griff Bear.<\/p>\n

Together they explore an extensive body of old-time music, with a few curveballs thrown in for good measure. From Robert Johnson and Hank Williams to Bob Dylan, John Prine and even Bill Frissell- a far-reaching repertoire of cover songs, with a couple of original pieces thrown in for kicks. Recorded over the course of a year of Tuesday nights at the vaunted club at 60th<\/sup>\u00a0and NE Glisan, the album is free of typical studio enhancements: sounding not unlike a John and Alan Lomax field recording from the \u201830s, only with better sound quality. This is pure, unadulterated music, with all the gimmicks and gewgaws removed.<\/p>\n

And, while that is an admirable approach, it does not always necessarily ensure high caliber entertainment. And such is the case for this album- which suffers from uneven performances along the way- even as Vance displays an ever-growing facility for his instrument. While he shines in many instances, especially as an instrumentalist, he is not always so successful as a vocalist. As a singing guitarist, Vance is in no danger of approaching the grandeur of, say, Leo Kotke or Joe Satriani.<\/p>\n

Take, for instance, his terrible vocal reading of Hank Williams\u2019 \u201cI Saw The Light,\u201d a white gospel send up if ever there was one. Vance \u201cplays\u201d with the melody line of the song, hacking it up mercilessly- until it is a chewed up piece of aural gristle. Not good. And, as a result, Mr. Bear seems uncertain, at stages, as to what key they are actually playing in. Fortunately, after about a minute of this misery, they break into a spirited instrumental duet that truly is a relief for all involved, and a much better example of what these guys do best. The decision to perform a second verse is questionable, but it leads into some very tasty solo work from Dylan.<\/p>\n

His vocal on Johnny Cash\u2019s \u201cLet The Train Blow The Whistle\u201d is more successful on a sort of gruff, John Prine-like, level. But his slide guitar work is gloriously pristine. His rendition of Robert Johnson\u2019s \u201cStones IN My Passageway,\u201d is the sort of hellbent blues rave-up that is right in Dylan\u2019s wheelhouse. His guitar work is superlative, while his vocal is tolerable, and perhaps better suited to material such as this. His own original tune, \u201cRedemption\u201d is an epic number, straight out of Robert Johnson territory, full of flashy guitar and fiddle interplay, as well as Vance\u2019s sterling solos. Frissell\u2019s \u201cGo Jake\u201d is given a playfully faithful treatment, with Bear\u2019s violin expertly echoing the lead line. A very satisfying performance. In this instance, especially, the acoustics of the venue lend a warm live ambience to the proceedings, in a beneficial way. Very nice.<\/p>\n

Bob Dylan\u2019s \u201cBuckets Of Rain, which Vance also covered on his second album, receives an accurate presentation, with Bear providing fine backup. But it\u2019s all a bit mundane. And there may be a couple of better choices than \u201cIt\u2019s A Big Ol\u2019 Goofy World\u201d to select from the John Prine repertoire, though the musicians seem to be enjoying themselves in laying it down. Dylan\u2019s take on the spiritual, \u201c9 lb. Hammer\u201d (a version of which Vance released on his first album), is energetic and feisty, with Bear staunchly backing him deliberate fiddle chops. Another traditional number, the field holler \u201cRollin\u2019 & Tumblin\u2019\u201d benefits from strong ensemble work and lively solos. Finally, Mr. Bear\u2019s original \u201cSunset In Oregon\u201d has a certain Prine-ish sensibility, though it kind of drags coming down the home stretch.<\/p>\n

Pruned of a few songs, this could be a great album. While there\u2019s nothing inherently abhorrent with the filler material, it does seem to be a bit of a distraction, lessening the impact of the better stuff. Availed of a few more choice morsels\u2026 Still, this is a workman like effort, all the more exceptional for the fact that it\u2019s recorded on an extended series of Tuesday nights, which seem to be rather sparsely attended. Yet the spirit is still there shining through each selection, weak or strong. Dylan Thomas Vance and Griff Bear have created an album with a strong instrumental presence, one that is worthy of closer inspection.<\/p>\n","protected":false},"excerpt":{"rendered":"

Eric Matthews Six Kinds Of Passion Looking For An Exit Empyrean Records BUY Eric Matthews may not be prolific, exactly, but at least he is dependable. Though it\u2019s been seven and a half years since his last release,\u00a0Lateness Of The … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"parent":42,"menu_order":3,"comment_status":"open","ping_status":"closed","template":"","meta":{"footnotes":""},"yoast_head":"\nGBU - 2005 - 03 - spclarke.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/spclarke.com\/?page_id=80\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"GBU - 2005 - 03 - spclarke.com\" \/>\n<meta property=\"og:description\" content=\"Eric Matthews Six Kinds Of Passion Looking For An Exit Empyrean Records BUY Eric Matthews may not be prolific, exactly, but at least he is dependable. 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