{"id":838,"date":"2012-02-28T20:13:17","date_gmt":"2012-02-29T04:13:17","guid":{"rendered":"http:\/\/spclarke.com\/?page_id=838"},"modified":"2012-08-11T13:47:35","modified_gmt":"2012-08-11T20:47:35","slug":"gbu-2003-03","status":"publish","type":"page","link":"http:\/\/spclarke.com\/?page_id=838","title":{"rendered":"GBU – 2003 – 03"},"content":{"rendered":"

Everclear<\/a><\/strong><\/h2>\n

\"\"S<\/em><\/strong>low Motion Daydream
\n<\/em><\/strong>Capitol Records<\/strong><\/p>\n

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

Everclear has been with Capitol records for seven years now, a mind-boggling figure when one considers that \u201clabel years\u201d are even more multiplicative than \u201cdog years.\u201d It is safe to say that one human year probably equates to ten label years, so many changes can come to a major label in the span of a single human year. Whole regimes and administrations pass by in the blink of an eye. One day the corporation is owned by Seagrams, the next day it\u2019s Philip Morris.<\/p>\n

You don\u2019t have to explain this to bandleader Art Alexakis, bassist Craig Montoya or drummer Greg Ecklund. Everclear has been with Capitol longer than either the Beatles or the Beach Boys were. With this, their fifth album for the label, the band clearly demonstrates that they are in total command of their studio powers; far more in touch with those powers than any flavor-of-the-month desk jockey sitting in an air conditioned office down on Sunset Boulevard.<\/p>\n

Alexakis\u2019 battles with the label have been well documented in these and other pages. Through it all, he has steadfastly insisted that he is the best (and the only) true arbiter of the state of his music. He has remained unswervingly in control of his artistic destiny, despite intense corporate pressure to turn out product on demand, according to their ledgers and timetables.<\/p>\n

While all the executive positions, running the show at Capitol, have turned over many times in the duration of Everclear\u2019s tenure, Art and the band have maintained a distinct musical identity. While some critics might (quite accurately) charge that the band is merely recirculating their former hits with (only slightly) different arrangements (a charge to which\u00a0 Alexakis must plead guilty); the tenor of their presentation has changed somewhat, over the course of time.<\/p>\n

One of Art\u2019s greatest strengths is his ability to embellish his admittedly limited musical canvas, with a variety of subtle production colorations and nuances. That aspect of his musical presentation has become especially more acute. As the band has grown in stature,\u00a0 he has been afforded a much richer palette (and much more time in which to employ it). If one approaches Everclear\u2019s music as he would a haiku, or some other fairly rigid poetic or musical form; then there are rewards to be derived.<\/p>\n

And it\u2019s not as if Everclear is the only band to have a certain sameness about their sound. The formula has certainly worked for countless other rockers (just look at the Dave Mathews Band, or his little brother John Mayer, fer chrissakes), and the technique goes back to the days of the earliest days of rock. Each of the eleven cross-faded, interconnected songs presented here (as well as the twelfth \u201chidden track\u201d), sound immediately familiar; instantly identifiable as being an Everclear song. In this world of product placement and limited attention spans, that is probably a good thing for a career. In the world of commercial radio, it\u2019s called: hits galore.<\/p>\n

And, to be sure, this album is loaded with radio-friendly potential hits. And these hits are even better than the former hits that they replace. If you loved \u201cSanta Monica,\u201d \u201cHeroin Girl,\u201d \u201cI Will Buy You A New House,\u201d and \u201cAM Radio\u201d\u00a0 you will love this album. If you always hated Everclear before, then this album isn\u2019t likely to convert you.<\/p>\n

What is immediately apparent among these dozen songs, besides his perpetual sense of the ironic, is that Art Alexakis is an hopelessly idealistic dreamer. It\u2019s a beautiful day. He wants to live a beautiful life. He even wants to die a beautiful death. But he is also a pessimist. He doesn\u2019t believe these dreams can really come true. Or if they do come true, Art doesn\u2019t believe they can possibly last. Yet, at the same time, he is a cheerleader, telling other people about the hidden qualities and strengths which they possess.<\/p>\n

As always, these songs are culled from Alexakis\u2019 extensive psyche, amassed like a collection of treasured scabs. There are obvious lyrical references, within the context of these songs, to Art\u2019s personal and business lives. Only one song, \u201cVolvo Driving Soccer Mom,\u201d departs from that first or second person perspective. In that song, Art takes the part of a thirty-something woman (perhaps he is exploring his feminine side?) who has mended her former wild ways. \u201cI used to be a bad girl\/I got busy in the bathroom at my high school prom\/Yeah I used to be a dancer at the local strip club\/But now I know my right wing from my wrong.\u201d<\/p>\n

While it\u2019s no doubt true that Art is taking a swing at his uptight Republican peers (and others with whom he now rubs shoulders, with his newfound fame and fortune), it is entirely possible that Art is also alluding to his own transformation from bad ass punk to upper middle-class liberal Democrat squire. Whatever the case, it seems an odd choice as the first single off the new album, when there are several other songs that are better singles (as, no doubt will be demonstrated at a later date).<\/p>\n

\u201cHow To Win Friends And Influence People\u201d ironically refers to the aforementioned \u201cbeautiful day,\u201d while considering human beings\u2019 predilection for joy at others\u2019 misfortune- \u201cPeople like to break your heart.\u201d Melodically, the song veers in places away from the prototypical Everclear, at times sounding like contemporary Red Hot Chili Peppers.<\/p>\n

A revved-up, hyper rocker, \u201cBlackjack\u201d resembles \u201cHeroin Girl,\u201d at double time. The lyrical subject matter is obliquely implicit, possibly referring to his own situation with his label, or to the election of George W. Bush to the presidency. The pursuit of the \u201cAmerican Dream\u201d is dragged behind the pick up truck of political intrigue and corporate thuggery. \u201cDon\u2019t tell me that you didn\u2019t see this coming down\/Please don\u2019t tell me that this isn\u2019t what you wanted now\/Please don\u2019t tell me that this isn\u2019t what you asked for\/Be careful what you ask for.\u201d A dark song.<\/p>\n

With \u201cI Want To Die A Beautiful Death,\u201d Art\u2019s fatalistic, James Dean- rebel, post- 9\/11 worldview is given full sway, as he bemoans small-town small-mindedness among other things. A stylistic departure, \u201cScience Fiction\u201d maintains the somber outlook. Over flitting acoustic guitars, solemn cello phases and ethereal strings, the song ends with the vaguely optimistic tenet: \u201cLife is always getting better\/For a while..\u201d<\/p>\n

A sentiment that seems to be a follow-up to \u201cFather Of Mine\u201d invests \u201cNew Blue Champion.\u201d Over the blistering chords of the chorus, accented by onrushing strings, Art makes clear his escapist manifesto: \u201cI just want it all to go away,\u201d while wrestling with traits that he hates in himself that may very well be hereditary in nature. Incendiary.<\/p>\n

Art\u2019s familiar \u201cBritish police siren\u201d lead guitar figure opens \u201cTV Show,\u201d a song mostly about disillusion and anomie, in which Art discloses his recurring desire to \u201cdo it all over again.\u201d It is not clear exactly what it is that he would do over, or what it is he would make right in the past. But, all things considered, it would seem like things have turned out okay for Mr. Alexakis. Maybe with a better upbringing, he coulda been president or a contender, or who knows what?. But such are the mysters which perpend upon the plane of all who dwell in this: here\/now. Never forget- it can always get worse.<\/p>\n

\u201cChrysanthemum,\u201d is a short sweet number, just an acoustic guitar and accordion accompaniment in E-flat minor. \u201cSunshine (Acid Summer)\u201d fondly recalls bygone days in the late \u201870s, listening to Cheap trick and tripping in\/on the sunshine. Melodically, the song vaguely resembles Paul McCartney\u2019s \u201cJunior\u2019s Farm,\u201d of all things, while thundering in typical Everclear fashion.<\/p>\n

Crying cellos wail behind a chiming marimba-like figure, over an incessant, mechanical beat on \u201cBeautiful Life,\u201d before the song breaks into more familiar musical territory, while inspecting the heartfelt ruminations of a classic manic-depressive personality.<\/p>\n

A similar dichotomous ambivalence invades \u201cNew York Times,\u201d where disillusion and cynicism wrestle for dominance in a mind that longs for peace and tranquility. It may be a well-worn path for Alexakis, but his fervor is no less intense for the repetition. The hidden track \u201cWhite Noise\u201d is meant to be spiritually uplifting (as best as Art can muster).<\/p>\n

Though it would be\u00a0 folly to expect new ground to be broken on Everclear\u2019s fifth major label release, it is not unreasonable for the average record buyer to expect a little change of scenery along the road, just the same. Art Alexakis and bandmates prove themselves to be talented musical landscapers, able to shape their surroundings while working within the same basic musical format. While Alexakis\u2019 rage has subsided somewhat, his cynicism and sense of indignity at injustice have not.<\/p>\n

In the meantime, the band\u2019s ability to express themselves musically has grown exponentially with each album release. The emotional fury of their early days has been supplanted by the band\u2019s ability to afford each song its own distinct ambience. And that, after all, is the mark of a truly sophisticated rock and roll band.<\/p>\n

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

\"\"5 Songs
\n<\/em><\/strong>Hush Records<\/strong><\/p>\n

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

We last heard from the Decemberists back in June. The six songs (I know, I know) on this EP were culled from several of the same recording sessions and a few other subsequent sessions. The band is the brainchild of Colin Meloy, a writer and singer of piquant folk songs, reminiscent, at times, of the \u201870s British folkie Al Stewart. He is backed by former Calobo members bassist Nate Query and keyboardist\/accordionist Jenny Conlee. Ubiquitous drummer Ezra Holbrook also lends his talents to the production, as does one Chris Funk, who gives a couple of songs a ghostly, haunted pedal steel guitar; as well as decorating other songs with electric guitar flourishes.<\/p>\n

But, as was pointed out in the earlier review, this album, like its predecessor, is all about Meloy\u2019s powerful gift for words. Availed of a reedy, nasally, somewhat monotonal voice and a melodic sense based primarily on those criteria, Meloy manages to make every song come alive with impassioned arrangements, based upon his enormous abilities as a wordsmith and story teller.<\/p>\n

Adorned by Funk\u2019s vibrato laden fills and electric twelve string-like interjections, as well as Conlee\u2019s accordion ornamentation, \u201cOceanside\u201d is a gentle love song, that nicely sets the mood for the festivities. A tuned-up and well-rehearsed Meat Puppets (with side players) comes to mind here.<\/p>\n

\u201cShiny\u201d is one of those very rare songs that any songwriter is lucky to have written. A gem. A winner. It is a touching tale of carnal carny love among the sawdust and the amusement park rides; told in such a way as to evoke the event quite succinctly in the mind of the listener. Melodically, the song adheres, somewhat, to the English folk song tradition, with melodic variations (especially in the chorus- in the key line \u201call shiny,\u201d) that are simply wondrous to behold in their luxuriant ambivalence: hanging like a sighs in midair. And, the poetry displays riveting economy, similar, in a way, to T.S. Elliot\u2019s early style.<\/p>\n

\u201cIn the roller coaster din, by the parachutes\/In saddle shoes, you broke your shin\/But I have never seen two eyes so shiny\/And the sullen beery swine\/ Who try to tangle you in sullen beery balls of twine\/Have they ever seen two eyes so shiny?\/The boys in denim vests\/ Smoking cigarettes between their bootblack fingertips\/Sweetly tipsy by the half-light\/ The light and the half light.\u201d Wow! Great stuff.<\/p>\n

Similar literary sentiments are intended for \u201cMy Mother Was A Chinese Trapeze Artist,\u201d a song that tries, perhaps, a bit too hard. There was a minor hit in the late \u201960s called \u201cWhere Do You Go To My Lovely,\u201c by a minor artist named Peter Sarstedt, which easily could have been the model for this number: a French-flavored waltz with pretensions aplenty in its lyrical word skirmishes. Not unpleasant, but tedious. But Meloy returns to form with the next number, \u201cAngel Won\u2018t You Call Me.\u201d Over a riff that sounds lifted, intact, from Three Dog Night\u2019s \u201cShambala\u201d (of all things), the song unwinds cheerfully enough.<\/p>\n

Jen Bernard\u2019s flute, coupled with Gus Baum\u2019s trumpet, Query\u2019s moody Jazz-infected basslines and Conlee\u2019s burbling electric piano, cast \u201cI Don\u2019t Mind\u201d in something of a different musical light. With a pastoral vocal melody whose essence is derived, in part anyway, from the Skyliners\u2019 doo-wop hit of the \u201850s \u201cSince I Don\u2019t Have You.\u201d Meloy is in full command of his wordsmith powers, relating a convoluted tale with cheeky drollity. With just a little more \u201coomph,\u201d \u201cApology Song\u201d could pass for the work of They Might Be Giants. But Meloy\u2019s vocal delivery sounds a bit iron deficient<\/p>\n

Still, the storyline- in which our protagonist is apologizes to his friend Steven for leaving his treasured bike Madeleine unlocked outside the Orange Street Food Farm, allowing it to be stolen- rings genuine, in a semi-precious way. \u201cI came out, she was gone\/ And all that was there was some bored old dog\/Leashed up to the place where your bicycle had been\/Guess we\u2019ll never see poor Madeleine again.\u201d Good humor and pluck once again win the day. Hooray.<\/p>\n

Colin Meloy (and his band, the Decemberists) exists in an alternate reality that is somewhat similar to our own, perhaps in the same way that the\u00a0Lord Of The Rings<\/em>\u00a0trilogy resembles actual human history. His music seems fully compatible with that other place. And, at the points where the dimensions fully converge, such as with \u201cShiny,\u201d a certain distinct sublimity is achieved and sustained<\/p>\n

Simon Widdowson<\/a><\/strong><\/h2>\n

\"\"Sweeper
\n<\/em><\/strong>Are You Listening Records<\/strong><\/p>\n

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

Simon Widdowson\u2019s road to our little corner of the world has been a long and circuitous one. Moving from England in 1986, first to Minneapolis, and later to Santa Fe, New Mexico. Over the course of that time he has released six albums as both a solo performer and as a member of the bands the Rainjackets and Spearfish.<\/p>\n

Since moving to Portland in the Spring of 2000, Widdowson opened Are You Listening studios in a warehouse on Portland\u2019s scenic inner eastside. There he has recorded some of Portland\u2019s top musical acts, including the Decembrists, Little Sue, Stephanie Schneiderman, Pete Krebs and Funk Shui. Here Widdowson steps out from behind the soundboard to perform ten of his own compositions, backed by the peripatetic rhythm section of Ezra Holbrook on drums and Aaron Masonek on bass. The trio is joined by Josh Boyd, who contributes loops and occasional theremin ambience.<\/p>\n

Widdowson\u2019s style is fairly standard singer\/songwriter fare, with a slightly British skew to the perspective, calling to mind the softer aspects of Thomas Dolby and the more subdued side of Pulp\u2018s Jarvis Cocker. His songs deal with interpersonal relationships and the joys and sorrows encountered there in. As might be expected of a studio engineer, the sound is clean and concise- with not a lot of unnecessary overdubbing or excess gloss. Straight-forward stuff.<\/p>\n

The album opens with \u201cRun,\u201d the definitive cut on the album. It is such a good song, and so superior to those that follow, that the rest of the album seems somewhat anticlimactic by contrast. This is not to say in the least that Simon\u2019s material is at all weak, for it\u2019s quite durable stuff. But \u201cRun\u201d is a strikingly memorable song, with all the elements to make it a sure-fire hit on the KINK-like stations of the nation.<\/p>\n

Over a fifth fret capoed acoustic guitar, Widdowson strums a wistful four-chord progression, roughly akin to Gm- Bflat- F- Am, conveying a sound reminiscent of Big Head Todd and the Monsters or Michael Penn. Simon\u2019s willowy falsetto creates a yearning quality in the presentation, while Masonek\u2019s slippery liquid bassline adds momentum and punch.<\/p>\n

The impatient waltz of \u201cRoadblock\u201d dances smoothly through the verses, giving way to noisy loops and jangling electric guitars at the turns. The song lacks a definitive chorus, which prevents it from reaching any sort of sense of transcendence. \u201cForever And Before\u201d suffers from similar impediments.<\/p>\n

The \u201cMartha My Dear\u201d piano of \u201cYou Don\u2019t Drink Anymore,\u201d as well as Widdowson\u2019s understated vocal delivery, call to mind Billy Joel in his \u201cPiano Man,\u201d period. \u201cSomething Wrong\u201d touches on territory explored by\u00a0Pablo Honey<\/em>-period Radiohead. A ghostly wind blows through the 12\/8 time signature, Holbrook\u2019s understated drums providing the driving force. A good song.<\/p>\n

Simon\u2019s plaintive harmonica pinions \u201cI Want You\u201d with a mournful mood. Boyd\u2019s faint fireworks add a feel of deflation to the arrangement- as if all the air were being let out of love\u2019s balloon. Another spinning acoustic waltz, \u201cThe Edge\u201d features more harmonica, against a solitary acoustic guitar playing a repetitive G5- Em7- C9 chord progression. \u201cAre You Listening\u201d pretty much sounds like some extemporaneous piano noodling, played while another mic has been stuck out a window, recording the weather and traffic going by outside. Vaguely interesting, for its impromptu ambience.<\/p>\n

The promise of the great lead track \u201cRun\u201d is not fulfilled in the other eight songs presented here; though Simon Widdowson distinguishes himself as an accomplished songwriter and performer, if not a great one. An album full of songs of the high caliber of \u201cRun\u201d would be a wonder to behold. It is unclear from this record whether Simon has that album in him.<\/p>\n

Andrew Calhoun<\/a><\/strong><\/h2>\n

\"\"<\/a><\/strong><\/h2>\n

Tiger Tattoo
\n<\/em><\/strong>Waterbug Records<\/strong><\/p>\n

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

Having been in Portland for only three years since moving from Chicago, singer\/songwriter Andrew Calhoun is a creator of story songs. Most of these stories have been culled from his extensive world experience, and his poet\u2019s eye for the dramas that daily turn in everyday life. Calhoun\u2019s music comes from a long folk music tradition that extends back through American folk music back to old English folk songs.<\/p>\n

Calhoun\u2019s robust baritone voice seems imbued with the spirit of the Weavers, Pete Seeger and Burl Ives; from Fairport Convention and Richard Thompson; from Pentangle, John Renbourne and Bert Jansch; from Ralph McTell and from early Bob Dylan; old Celtic folk ballads and all that came before that. It is within the strictures and limitations of that tradition in which Calhoun plies his stately craft.<\/p>\n

The late Dave Carter was one of Calhoun\u2019s biggest local proponents. He and his partner Tracy Grammer sang on a few of these tracks, before Carter\u2019s death last Summer. The final two songs of the fourteen found on this album are dedicated to Carter\u2019s memory. They echo his and Calhoun\u2019s enthusiasm for music and song and the art of expression.<\/p>\n

Calhoun\u2019s strengths are in his storytelling abilities. Check out the chilling \u201cGoin\u2019 Down To See John Prine,\u201d whose storyline spans twenty or thirty years, from the early days when Calhoun, then living in Chicago, first saw the then-unknown Prine play at a local coffeehouse. As the song transpires, Calhoun\u2019s disillusionment with becomes palpable, as he watches Prine slowly squander the gift that he had been given. A very poignant song. \u201cOn a sunny summer afternoon, for me the game was blown\/Who’d believe this strung-out fool was the man who wrote \u2018Sam Stone\u2019?\u201d<\/p>\n

Poignant too, is the title song, Calhoun\u2019s tale of a wayward temp worker who was working in his office; fighting the odds against poor, single mothers. \u201cSomething unspeakable happened to Amy\/it was held in a poem she never did show me\/A quiet goodbye, my assignment is through\/May the angel pass over that tiger tattoo.\u201d<\/p>\n

\u201cI Shall Not Look Away,\u201d is a gentle and touching personal reflection and tribute to the memory of Dave Carter, sung over a intricate guitar part, vaguely reminiscent of Paul McCartney\u2019s \u201cBlackbird\u201d from the Beatles\u2019 \u201cDouble White\u201d album. But, as is always the case with Calhoun, the lyric is where the focus should be placed. \u201cThe seeker and the teacher\/The poet and the sage\/The tortures of your journey\/Genius on the stage.<\/p>\n

Andrew Calhoun is not exactly availed of a gift for melody. His songs are not generally \u201cmemorable,\u201d in the classic pop sense, though \u201cJoy,\u201d with Carter and Grammer\u2019s hymn-like background vocals, is a pleasant tune. Calhoun\u2019s gift lies in his ability to commit his observations into verse; with the incisive mind of a poet and a true story-teller and bard.<\/p>\n","protected":false},"excerpt":{"rendered":"

Everclear Slow Motion Daydream Capitol Records BUY Everclear has been with Capitol records for seven years now, a mind-boggling figure when one considers that \u201clabel years\u201d are even more multiplicative than \u201cdog years.\u201d It is safe to say that one … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"parent":48,"menu_order":10,"comment_status":"open","ping_status":"closed","template":"","meta":{"footnotes":""},"yoast_head":"\nGBU - 2003 - 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=838\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"GBU - 2003 - 03 - spclarke.com\" \/>\n<meta property=\"og:description\" content=\"Everclear Slow Motion Daydream Capitol Records BUY Everclear has been with Capitol records for seven years now, a mind-boggling figure when one considers that \u201clabel years\u201d are even more multiplicative than \u201cdog years.\u201d It is safe to say that one … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/spclarke.com\/?page_id=838\" \/>\n<meta property=\"og:site_name\" content=\"spclarke.com\" \/>\n<meta property=\"article:modified_time\" content=\"2012-08-11T20:47:35+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/www.twolouiesmagazine.com\/wp-content\/uploads\/2011\/11\/everclear-daydream-150x150.jpg\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"17 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"http:\/\/spclarke.com\/?page_id=838\",\"url\":\"http:\/\/spclarke.com\/?page_id=838\",\"name\":\"GBU - 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