{"id":803,"date":"2012-02-28T18:59:45","date_gmt":"2012-02-29T02:59:45","guid":{"rendered":"http:\/\/spclarke.com\/?page_id=803"},"modified":"2012-02-28T20:30:17","modified_gmt":"2012-02-29T04:30:17","slug":"gbu-2003-12","status":"publish","type":"page","link":"http:\/\/spclarke.com\/?page_id=803","title":{"rendered":"GBU – 2003 – 12"},"content":{"rendered":"

Brian Copeland Band<\/a><\/strong><\/h2>\n

\"\"<\/a><\/strong>Daffodil<\/em><\/strong>
\nSelf-Produced<\/strong><\/p>\n

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

From the ashes of Pale Green Pants (why does this sound like the beginning of a Dr. Seuss book?) emerges the phoenix of the Brian Copeland Band. And while, as has often been said,\u00a0 it may be true that it is not necessarily wise to trust a band named after it\u2019s leader (and never eat at a restaurant called \u201cMom\u2019s,\u201d either)- would the Syd Barrett Band be as successful today as is Pink Floyd, one wonders, especially without the services of Mr. Barrett, himself?- the Brian Copeland Band manage to avoid any of these commonly held beliefs, rising above their name (Pale Green Pants must have already been a band in Ohio, or something. There is no other explanation as to why this band changed its name) to redeem themselves as capable musicians, who exhibit a strong sense of imagination, despite the obvious lack of it they displayed when re-naming the band.<\/p>\n

Leader, singer\/songwriter\/rhythm guitarist, none other than Brian Copeland, has been around the local scene, off and on, for the past ten or twelve years; working with bands such as Dashboard Mary, Funk Knot and the Furleys in the early to mid \u201890s, as well as Pale Green Pants. Here, Copeland is joined by his longtime PGP rhythm section of drummer Gene Ermal and bassist Rob Schrecongost (who was also a member of the Furleys). Lead guitarist Jon Taubman is a new addition, and a fine one at that. His presence frees Copeland to concentrate more on his vocals- though Brian is no slouch as a guitarist either.<\/p>\n

The songs presented here are ten highly polished, well-recorded numbers, rife with exemplary musicianship. Copeland\u2019s classic, reedy voice resembles, somewhat, that of Kevin Griffin of Better Than Ezra, mixed with elements of REO Speedwagon\u2019s Kevin Cronin and Styx\u2019s Dennis De Young (circa\u00a0Grand Illusion<\/em>). \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The title track imparts a strong pop sensibility, reminiscent of Neil Finn and Crowded House, with undertones of Tad Bachman in the chorus. Supported by Schrecongost\u2019s supple basslines and Ermal\u2019s sure drumming, Copeland and Taubman delicately layer subtly intricate guitars threads into the embroidery of the mix. Taubman\u2019s elegiac guitar nocturne buoys the verses of \u201cWhat Do You Need,\u201d while the quirky choruses benefit from contrapuntal background vocals. Guest Jake McClain deftly duets with guitar in the solo section. Another well-constructed, well-wrought song.<\/p>\n

McLain returns on the r&b tinged \u201cRacine,\u201d creating a veritable wall of saxes. He is joined by journeyman keyboardist Wayne Thompson, as Copeland sings a song about a woman so fine, Wisconsin named a town after her. Over Schrecongost\u2019s repetitive, loop-like bassline serves as the fulcrum, while McLain teeters precariously with a daring solo. Sugarloaf\u2019s 1970 hit \u201cGreen Eyed Lady\u201d is curiously conjured with this tune.<\/p>\n

The melodic, jangly, modal country\/folk warmth of \u201cRide\u201d again invites comparisons to Neil Finn; Taubman\u2019s luminescently cumulous guitar interjections are the bed upon which Copeland layers rich harmony vocals. A winner.<\/p>\n

Underpinned by cello and violin, the moody acoustic ballad \u201cSo Beautiful\u201d gives a glimpse of another shade from the broad musical palette which Copeland wields.<\/p>\n

Easily the catchiest number of the set, \u201cFool\u201d is nicely augmented by Thompson\u2019s droll organ pads, while an upbeat rhythm recalls an earlier Finn incarnation with Split Enz, especially the song\u00a0 \u201cOne Step Ahead,\u201d though Copeland\u2019s lyrical approach to this song is more self-effacing and less paranoid, as with the Rembrandts, perhaps. Co-producer Josh Millman steps in to contribute a fiery guitar solo in the funky \u201cSecond Time Around.\u201d<\/p>\n

\u201cThe Wait\u201d seems modeled after a Dave Matthews production or two, with McLain\u2019s sax work emulating Leroi Moore\u2019s with the DMB. \u201cLong Forgotten World\u201d is a pretty waltz, with nice background vocals from Tina Wenz. Matthews and John Mayer come to mind as influences on \u201cI Fell\u201d; McLain\u2019s sax vying with Josh Millman\u2019s guitar ornamentations- Copeland\u2019s gritty vocals cutting through\u00a0 the mix.<\/p>\n

Brian Copeland and his band offer a lot of variety, while maintaining consistency throughout the course of this album. There are no bad songs here, maybe only one or two that are even pedestrian in the least. Fans of well-played, well-executed pop music will find a great deal to appreciate in the Brian Copeland Band.<\/p>\n

The Dimes<\/a><\/strong><\/h2>\n

\"\"The Dimes EP<\/em><\/strong>
\n<\/strong>Self-Produced<\/strong><\/p>\n

BUY the Dimes at CDbaby, but not this EP<\/a><\/strong><\/em><\/p>\n

The Dimes are an enterprising quintet, headed by Austin transplant Johnny Clay, who pretty much lays his life out for all to see through the course of the six songs tendered here. It\u2019s a stark world he presents- dry, desolate. austere and barren as a flat, wide prairie; two-dimensional and nearly colorless. His lyrics are strict narratives, void of even one single adjective, with but the barest of similes or metaphors. Everything is as it is in Johnny Clay\u2019s world. There are no illusions nor allusions, only a cold, translucent reality. And yet there is a compelling beauty withal.<\/p>\n

A mixture of several various elements and styles coalesce. A hint of the Dave Matthews Band, an insinuation of Dashboard Confessionals, a touch of the Smiths, an ounce of the Afghan Whigs, a pound of the Cure (as it were), a husk of Korn, a shred of Creed, even a faint wisp of Aeromith faintly distilled into the brew. All combined with thought-provokingly depressed lyrics, make for a dark passage through deep waters.<\/p>\n

Exploring the loss of a father (it is not altogether clear just how autobiographical these songs really are), \u201cEveryday,\u201d is etched with the regret of what never came to be, a relationship which never fully bloomed to fruition. Pierre Kaiser\u2019s skittering guitar extrusions meld with Clay\u2019s muddy rhythm guitar, forming a thick nimbus, under which bassist Ryan Johnston, drummer Jake Rahner and percussionist Shawn Tuthill perambulate with steady precision.<\/p>\n

\u201cStranger In My Bed\u201d is even more chilling still. An evocatively gorgeous chorus plays against heavily intense verses, \u201cI left for work tonight\/Living in denial and a lie\/With people passing by\/One of them is sleeping with my wife.\u201d It doesn\u2019t get much more direct than that. Searing guitars feverishly soar above steady rhythms, as Clay\u2019s falsetto vocals achingly cry in the chorus. \u201cthere\u2019s a stranger in my bed.\u201d<\/p>\n

Even more discouraging, perhaps,\u00a0 \u201cShawn\u2019s Song\u201d probes a relationship in pieces, over sparse, jagged electric guitar accompaniment and sinewy acoustic rhythm guitar. Tuthill\u2019s muted trumpet solo captures the moody ambience of the song, underscoring the despondent essence, which pervades throughout the entire project.<\/p>\n

A glimmer of lyrical hope appears with \u201cOxygen.\u201d Sounding something like\u00a0All Things Must Pass<\/em>– era George Harrison, filtered through a 21st<\/sup>\u00a0century shoe-gazer band, along the lines of 3 Doors Down or Puddle Of Mudd, perhaps, the song bears a certain forthrightness that is nearly uplifting, given its context. Here, Tuthill\u2019s trumpet solo recalls David Mason\u2019s piccolo trumpet solo on the Beatles\u2019 \u201cPenny Lane.\u201d<\/p>\n

\u201cDouglas In A Space Suit,\u201d maintains the sense of first-person narrative, while layering a veil of third-person fiction over what appear to be autobiographical references. Above a lilting arrangement of acoustic guitars and restrained electric guitar backing, Clay describes a very specific scene: \u201cHis father\u2019s relics in a classroom\/A confrontation though she wants\/to be in his head. And suddenly a\/revelation. We only live in two\/ dimensions. And Douglas explains.\u201d<\/p>\n

Featuring a fiery lead guitar solo from Kaiser, \u201cNumb\u201d lyrically explores the depths with a strange sense of conviction. Despite maintaining that he is \u201cnumb to the world,\u201d Clay displays a fiery intensity in his vocal, which belies his insinuated state of absolute anesthetized insulation. Instead, it appears that he means that he has buffered himself to numbness against one person. \u201cBreaking up\u201d as Mr. Sedaka once said, \u201cis hard to do.\u201d<\/p>\n

The Dimes are a fine young band who play very well together. It might be interesting to hear what they sound like when the various songwriters in the band are in a better mood, a better psychic space. One would hope that Johnny Clay would find a way to incorporate at least a modicum of descriptive language into his literary\u00a0 oeuvre, which is not without an inherent interest of its own- but is a bit too rigid and sterile, as it is. It would seem that he (and the band) has more to offer than that.<\/p>\n

Plaid<\/strong><\/h2>\n

\"\"T<\/em><\/strong>he Best CD You Now Own<\/em><\/strong><\/p>\n

Self-Produced<\/strong><\/p>\n

Many mysteries surround singer\/songwriter Andy Pribhol, starting with his last name- which may or may not actually be Pibal. He uses both names, everywhere, all the time. For several years, Andy was the guiding force behind the Plaid Pantry Project: which at one time was rumored to have cut a deal with the quik-mart chain to distribute his albums in their stores. However, with the new name for his project, it would seem that the deal may have soured, with the chain, perhaps, turning corporate after all.<\/p>\n

Pribhol\/Pibal has been absent from the local scene for the past couple of years. His website.\u00a0www.oregoncarp.com,\u00a0 is dedicated to the sport (?) of fly-fishing for carp, at which Andy seems to imply that he is an adept. As elegant as the art of fly-fishing may be, carp are rather disgusting fish (although distantly related to goldfish and koi), and rather ungainly. Though it is no source of pride for me, as a child I once inadvertently killed a carp at Westmoreland Park, by hitting it with a stone tossed from about forty feet away. I\u2019m not sure how much sport there would be in fly fishing for one. But, Andy\u2019s website seems to imply (either directly or, possibly, euphemistically) that carp are akin to marlin in the sportfish ranks. How much of this is hyperbole, one cannot truly ascertain with Andy Pribhol\/Pibal.<\/p>\n

One thing that is certain, however, is Andy\u2019s raw talent. Here, playing all the instruments (which includes utilizing a child\u2019s drum kit as percussion, throughout) and produces a dozen off-kilter pop songs, whose insights parallel the sort of\u00a0 arcane observations found in the average Shins song. Think of Jonathan Richman jamming with XTC and you\u2019re on the right track. (Richman is loosely referred to in the song \u201cJohnathan Richmond Addiction\u201d). The boast of this album\u2019s title is more than pure jest It\u2019s actually a pretty good record.<\/p>\n

Andy\u2019s a pretty good drummer, even on a kid\u2019s kit (hey, it\u2019s a good kit, just the same), so all the songs kick in their own right, despite their relative low-fi (\u201c8-track analog\u201d) pedigree. The opening track, \u201cThink It Over\u201d is an accessible piece of country-flavored rock. \u201cMy Pet Rocks\u201d is a mystical little rocker that clocks in at just over a minute and a half. \u201cAssociate Turned Partner \u2018Severe Oblique\u2019\u201d is an ominously hard-charging number. \u201cRiver Thank You\u201d is rather Beatleseque, with it\u2019s droning guitars, throbbing bass tones and syncopated drum work.<\/p>\n

Sultry guitars and a jungle beat drive the sensuous \u201cAndy\u2019s Back,\u201d a freaky Beckish piece, which finds our hero expostulating on his own caloric heat. \u201cAndy\u2019s a gas man\/Andy\u2019s a gas again\/Andy\u2019s back man\/Andy\u2019s back again.\u201d Just in case you were wondering. The peculiarly touching \u201cThe Amazing Finishes From The Slow Kids Relay,\u201d is brittley pretty, hingeing on a fiery little guitar figure, calling to mind Jeff Beck\u2019s rousing guitar line on the Yardbirds\u2018 \u201cOver Under Sideways Down,\u201d\u00a0 crossed with the Rolling Stones\u2019 \u201cPaint It Black.\u201d Hot.<\/p>\n

The aforementioned \u201cJohnathan Richmond Addiction\u201d is mostly an instrumental number, but not without compelling aspects, all the same. \u201cSaul Discovers He\u2019s Unliked\u201d could be a biblical parable, as Saul was the father of Jonathan, although from the lyric, this is hard to tell. Chunky guitars chortle feverishly over throbbing kinetic drums. \u201cCorporate Slacker \u2018Thanks Mom\u2019\u201d sounds a bit like Cheap Trick\u2019s \u201cSurrender,\u201d as if played by the Ramones.<\/p>\n

A roiling Blue Oyster Cult-like riff propels \u201cThe Awful LAttortney,\u201d in which Andy seems to be using a cease and desist letter as the source for his lyrics, while scary sounding keyboards wail like banshees behind him. The answer to the Plaid Pantry question? One wonders\u2026 The guitar intro to \u201cCretin Summer Stomp\u201d mirrors that of Ted Nugent with the Amboy Dukes on \u201cJourney To The Center Of The Mind,\u201d a muted moaning squall of\u00a0 a sound. A solitary acoustic guitar serves as the sole accompaniment, as Andy ponders his existential lot in life.<\/p>\n

Most of the songs here are short pieces of exposition. The entire album was recorded (multiple overdubs and all) in a single evening. The songs bear that rushed, hurried sensibility, not necessarily to their detriment, as most of them have an off-the-cuff sense of spontaneity about them. Andy Pribhol\/Pibal displays unquestionable talent, if not signs of ADD. The extemporaneous quality in his material does not leave a lot of room for nuance or subtlety- not that those are any sort of requisites in this medium. But just the same, it seems that none of his ideas are ever more than rudimentarily explored. And in some cases any way, that seems like an outright shame.<\/p>\n

Lew Jones<\/a><\/strong><\/h2>\n

\"\"Rain On The Marshland<\/em><\/strong>
\n<\/strong>Self-Produced<\/strong><\/p>\n

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

The recent discovery of the long-lost masters of this 1981 recording (originally a vinyl-only release) led to its eventual re-release in the CD format. It\u2019s a genuine wonder to behold. Jones\u2019 recording career is nothing if not somewhat spotty and erratic. Among his twenty or thirty albums, this is by far the best. And, if nothing else, it serves as definitive proof that not only has Lew long been a vital force in the Portland folk music scene; but that this album was at least twenty years ahead of its time: because it sounds as fresh and pertinent, as contemporary, as the day it was recorded.<\/p>\n

Among the eleven pieces presented here, at least six stand out as some of Jones\u2019 best work. On top of that, for this session, Lew surrounded himself with some of the best musicians in town at the time, including guitarist Al MacLeod (Country Al & His Pals) and bassist Don \u201cThe Rock\u201d Weiss (Sleazy Pieces) and several notable solo performers, such as saxophonist Dominic Lombardi and longtime scene mainstay Neil Gilpin on violin (an instrument he promptly abandoned shortly after this recording).<\/p>\n

The title track is a sprawling sprint which neatly captures the wind and weather of Oregon in the winter time. The full ensemble is at hand from the start, captured mid-stride rushing headlong into the howling squall. MacLeod\u2019s chicken pickin\u2019 through the verses helps to punctuate the breezy aspects of the tune, like flecks of straw driving themselves into a phone pole. And a series of stinging guitar solos eventually give way to solos by Lombardi and Gilpin, giving way to\u00a0 a nice interplay between MacLeod and Lombardi.<\/p>\n

\u201cTerwilliger Bridge\u201d a longtime Jones mainstay, which he has recorded several times, here receives a stately reading. Dan Linn\u2019s liquid slide guitar provides a skittering wash behind Lew\u2019s clear, cool delivery. That coolness spills over into the smoky jazz of \u201cYou\u2019ve Got To Know What You\u2019re Doing.\u201d With a nod to Jaco Pastorius, Weiss\u2019 silken basslines luxuriously lay across the soft bed of Michael Weissenfluh\u2019s gently brushed drums, while Lombardi and MacLeod trade tasty solos. Vocally,\u00a0 Lew sounds a bit like Art Garfunkel here, his satiny tenor smoothly blanketing the mix.<\/p>\n

Another nugget from the Jones goldmine, \u201cI Think It\u2019s Gonna Rain Tonight,\u201d which has also been recorded a number of times, here benefits from a relaxed arrangement, which allows Country Al the opportunity to throw out a series of\u00a0 smoldering licks, reminiscent of James Burton and Mark Knopfler in the tidy compactness of their presentation. \u201cCaught In A Dream\u201d is a dreamily chromatic number with it\u2019s antecedent\u2019s in some of John Lennon\u2019s early post-Beatles solo work. Lew\u2019s acoustic guitar and Lombardi\u2019s sparse sax interjections serving as the only accompaniment.<\/p>\n

The Dylanesque apocalyptic vision of \u201cWatching Rome Burn\u201d even more appropriate today than it was at the dawn of the dear old Reagan years, when Saddam Hussein was still but a loyal friend of our government and the corporate world had yet to feed at the trough of the US economy for their own gluttonous private gains; and terrorists had yet to bring down twin symbols of power for that corporate world. Clearly Lew could see the chaos which lay ahead in the coming decades. \u201cWatching the buildings go, one by one. Along the roadside, the people laughing outside\/Watching Rome burn to the ground.\u201d Later he makes the observation: \u201cYa got H-bombs big and small\/All these countries trying to make us crawl\/I tell you now it comes straight from the heart\/All these power hungry people trying to keep us apart.\u201d<\/p>\n

Finally, \u201cNothing Left But Laughter\u201d is a touching little statement as to the quality of Lew\u2019s life twenty years ago. It is, however, very strange to think that little Justin Jones, Lew\u2019s young son, who is captured laughing at the end of this song, is now in his mid-twenties.<\/p>\n

It is truly fortuitous that this important album has been re-discovered; because it is a great compendium of early Lew Jones songs, as well as a personal artistic high water mark- which stands as a stunning achievement, even twenty-two years after the fact.<\/p>\n

Geoff Byrd<\/a><\/strong><\/h2>\n

\"\"Candy Shell
\n<\/em><\/strong>Self-Produced<\/em><\/strong><\/p>\n

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

Immaculately recorded by Steve Sundholm (of the Sunn amplifier clan), this album features the singing and songwriting of Geoff Byrd, who briefly played locally with Geoff Byrd and the Sentenels. Byrd\u2019s music\u00a0 synthesizes the styles of such great pop acts as Dave Matthews, John Mayer. Peter Gabriel, the Bee Gees, Fine Young Cannibals, U2 and a host of others.<\/p>\n

But his work is far from imitative. On the strength of his songwriting alone, this guy could be a huge success. But he has one of those voices, like Roland Gift of FYC, or Seal or Gabriel, or Mayer and Matthews (without some of the annoying vocal contrivances of the latter two) that is readily identifiable. He has the vocal grit of the aforementioned, with the clarity of Bono and the nasal honk of a Gibb family member. A great pop music voice. Nuance up the ying yang, breathy sincerity like you read about.<\/p>\n

And among the eleven songs presented here, every one is a winner. In fact the weakest entry of the lot is his rendition of the Bee Gees\u2019 \u201cHow Deep Is Your Love,\u201d to which he adds very little. The other ten original numbers are standout examples of finely crafted pop songs, peerlessly wrought by the top quality rock band with which Byrd has surrounded himself.<\/p>\n

The lead track, \u201cVersus The World,\u201d has a hook big enough to land a marlin. Over Byrd\u2019s four, dancing acoustic guitar chords, Colby Hendricks\u2019 thumping bass and Eric Storm\u2019s big beat, tubular bells chime; while Matt Burnett adds prudently spartan piano phrasings and Keith Sommers, but the barest of wah-wah guitar. The uplifting chorus is automatically memorable, Byrd\u2019s crooning style evoking Seal. With \u201cSilver Plated,\u201d Byrd reveals an effortless falsetto which, through the course of the album, he tends to overuse nearly to the point of clich\u00e9.<\/p>\n

With a McCartney-like piano intro, the verses of \u201cI Will Be There\u201d echo Fine Young Cannibals\u2019 \u201cShe Drives Me Crazy,\u201d while the general feel of the arrangement calls to mind the Bee Gees\u2019 \u201cJive Talkin\u2019.\u201d A sterling horn section adds muscular body to the production. Shawn Mullins\u2019 \u201cLullaby\u201d is reflected heavily on \u201cElusive Butterfly.\u201d<\/p>\n

Byrd\u2019s falsetto comes into play again in the pretty waltz \u201cI\u2019m In Love.\u201d\u00a0 Over Burnett\u2019s lovely, cascading piano arpeggios and delicate strings, Geoff croons mellifluously, the overall quality of production, beyond reproach. \u201cWait For Me\u201d maintains a feel similar to McCartney\u2019s \u201cLet \u2018Em In.\u201d That McCartneyesque eight-to-the- bar piano style is the basis for the rave-up \u201cBrighter Day.\u201d The beefy horn section returns to again add substance to the mix.<\/p>\n

If Geoff Byrd has a weakness, it is in the area of his lyrics, which, on paper, mostly scan like new age blather and adolescent platitudes. However, in the course of their delivery in the midst of a song, they fit quite indelibly. So it would seem that, as a songwriter, the words come after the melodies have been written for Geoff Byrd. Perhaps the occasional input of a Bernie Taupin-like lyricist would help Geoff to\u00a0 add a bit of lyrical depth to his songs.<\/p>\n

But other than that small quibble, it would seem almost certain that Geoff Byrd (and his stalwart backing band) are destined for very big things. His songs are memorable, the arrangements are tight as a drum. Geoff is an evocative vocalist, perhaps a bit over-wrought at times, but gifted with a facile instrument, availed of a remarkable vocal range and depth of emotion. Success seems not so much a possibility for this talented young man, as a certainty.<\/p>\n","protected":false},"excerpt":{"rendered":"

Brian Copeland Band Daffodil Self-Produced BUY From the ashes of Pale Green Pants (why does this sound like the beginning of a Dr. Seuss book?) emerges the phoenix of the Brian Copeland Band. And while, as has often been said,\u00a0 … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"parent":48,"menu_order":1,"comment_status":"open","ping_status":"closed","template":"","meta":{"footnotes":""},"yoast_head":"\nGBU - 2003 - 12 - 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=803\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"GBU - 2003 - 12 - spclarke.com\" \/>\n<meta property=\"og:description\" content=\"Brian Copeland Band Daffodil Self-Produced BUY From the ashes of Pale Green Pants (why does this sound like the beginning of a Dr. Seuss book?) emerges the phoenix of the Brian Copeland Band. 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