Showing posts with label Three O'Clock. Show all posts
Showing posts with label Three O'Clock. Show all posts

Monday, December 10, 2018

Collections enhance legacy of groundbreaking artists

Without a doubt, 2018 has seen a slew of amazing reissues and retro-minded collections that rank among the most essential titles of the year. In this column I highlight three astounding releases worthy of exploration by music fans.



Artists: The Bangles, The Three O'Clock, The Dream Syndicate, Rain Parade
Title: 3 X 4 (Yep Roc Records)
You might like if you enjoy: The Bangles, Steve Wynn
Tell me more: Los Angeles' so-called "Paisley Underground" was an exciting genre blending garage rock, jangly power pop and psychedelic rock that emerged at the dawn of the 1980s. The movement's best-known proponents  the Bangles, Rain Parade, the Dream Syndicate and the Three O'Clock  have joined forces on a must-hear collection where each group performs one song from each of the other three outfits  hence the clever title 3 X 4. Every cut on the 12-track disc is fantastic, capturing the individual talents of the groups and strength of the songwriting. The Dream Syndicate brings an almost Neil Young and Crazy Horse muscular approach to Rain Parade's "You Are My Friend." Rain Parade brings a Beatlesque touch to Three O'Clock's atmospheric "As Real As Real." Susanna Hoffs' shimmering lead vocals help propel the Bangles' lovely take on Rain Parade's dreamy "Talking In My Sleep." The Dream Syndicate offers up a rollicking take on the Bangles' classic "Hero Take a Fall," the version bolstered by the lush harmonies of Vicki Peterson and Linda Pitmon. The melancholy-drenched "Real World" finds Rain Parade bringing new depth to the Bangles favorite. 3 X 4 is one of the most glorious releases of 2018. Information: YepRoc.com.



Artist: Ten Years After
Title: Live At The Fillmore East (Chrysalis Records)
You might like if you enjoy: Jimi Hendrix, Jeff Beck, Eric Clapton
Tell me more: Although Ten Years After is best known for their fiery performance of "I'm Going Home" at Woodstock in August 1969 and the 1971 radio hit "I'd Love to Change the World," the British blues rock band released a score of Top 40 albums on the UK Albums Chart and US Billboard 200 in the late 1960s and early '70s. Now one of the British quartet's best live albums has been reissued and sounds better than ever. Live At The Fillmore East is a two-disc concert recording (originally released in 2001) drawing a dozen tracks from the band's performances at the Fillmore East in New York City on Feb. 27 and 28, 1970. Those who loved Ten Years After's exhilarating approach in concert will want to get this live set featuring singer-guitarist Alvin Lee and company's extended takes on many of their best early material including a amped-up take on the 1930s blues standard "Good Morning Little School Girl," breathtaking 11-minute run through "I'm Going Home," a blistering version of Chuck Berry's "Roll Over Beethoven" and the marathon drum solo "The Hobbit" featuring Ric Lee. Listening to this amazing collection is to be reminded why Alvin Lee ranked with Jimi Hendrix, Jeff Beck and Eric Clapton as one of the greatest electric guitarists of his generation. Information: ChrysalisRecordings.com.



Artist: Prince

Title: Piano & A Microphone 1983 (Warner Bros. Records)
You might like if you enjoy: Prince
Tell me more: Die hard fans of Prince likely picked up Piano & A Microphone 1983 the instant it was released, but casual fans of the artist may have somehow overlooked this fascinating glimpse at another side of Prince. Recorded in 1983 at the artist's Kiowa Trail home studio in Minnesota, Piano & A Microphone spans a mere 35 minutes but immerses the listener with every creative bend. In addition to early versions of his own "17 Days," "Purple Rain" and "Strange Relationship," the intimate recording finds the artist performing a soulful version of Joni Mitchell's "A Case of You" and a raw version of the traditional 19th century spiritual "Mary Don't You Weep." The home studio cassette recording has been lovingly enhanced, and the simple teaming of Prince's vocals and accompanying piano is mesmerizing from start to finish. Information: OfficialPrinceMusic.com.  


Robert Kinsler

Tuesday, November 20, 2018

Late-2018 discs among the year's best

While 2018 will soon be over, a number of must-hear albums have just been released and are well worth exploring.



Artist: Andrew McMahon
Title: Upside Down Flowers (Fantasy)
You might like if you enjoy: Andrew McMahon, Jack's Mannequin, Roger Joseph Manning Jr.
Tell me more: One of the most insightful and talented artists of his generation, Andrew McMahon has scored success fronting Something Corporate, Jack's Mannequin and Andrew McMahon in the Wilderness. On his newly-issued solo LP Upside Down Flowers, McMahon uses his uncanny ability to examine and exhume the world around him and put it all into song. The disc's opening tracks find the singer-songwriter-pianist revisiting his past, from his family's move from Ohio to Southern California ("Ohio") to his formative teenage years in Orange County breaking through with his indie rock troupe Something Corporate (courtesy of the wistful "Teenage Rockstars"). McMahon has the ability to create songs that are both literate and musically enthralling as evidenced by the evocative "Monday Flowers," chamber pop of "This Wild Ride," melodic rocker "Goodnight, Rock and Roll," the introspective "House in the Trees" and Beatlesque "Penelope." McMahon embarks on his highly-anticipated "Upside Down Flowers" North American tour on January 23, 2019. Information: AndrewMcMahon.com.



Artist: Paul Kelly
Title: Nature (Cooking Vinyl)
You might like if you enjoy: Neil Finn, Bruce Cockburn, John Hiatt
Tell me more: Paul Kelly's new LP combines poetry from five literary masters (Dylan Thomas, Walt Whitman, Sylvia Plath, Gerard Manley Hopkins and Phillip Larkin) as well as his own prose with a shared theme reflecting the disc's title Nature. The songcraft is as glorious as the verse with a diverse soundscape encompassing folk rock (the propulsive "With the One I Love"), Celtic-tinged folk ("And Death Shall Have No Dominion," "A Bastard Like Me"), baroque pop ("The River Song") and Americana ("Little Wolf," "Morning Storm," "The Trees"). The lush neo-classical "Bound to Follow (Aisling Song)" features soprano Kate Miller-Heidke and further captures the exhilarating spirit of this special project that simultaneously and magically celebrates the power of poetry, song and the natural world. Information: PaulKelly.com.au.



Artist: Glen Campbell
Title: Sings For The King (Capitol/UMe)
You might like if you enjoy: Glen Campbell, Elvis Presley
Tell me more: Fans of both Elvis Presley and Glen Campbell will be in amazed after hearing the astounding new collection Sings For The King. From 1964 to 1968  an especially productive time for Campbell highlighted by his touring duties with the Beach Boys, high-profile studio work as lead guitarist with the Wrecking Crew and a burgeoning solo career  Campbell was recruited to record songs for Elvis Presley. Now more than a half century after Campbell made these recordings, 18 of the rescued tracks have been released as Sings For The King (available on audio CD, vinyl and digitally). A dozen of the songs on the disc would ultimately be recorded by Presley, but these versions feature Campbell and he uses his voice to showcase how they would sound if sung by Presley (who did ultimately record his own versions of a dozen of the songs heard on the set). Beginning with the gospel-flavored "We Call On Him" where the voices of Presley and Campbell are both featured to clearly demonstrate how closely the Rhinestone Cowboy could mirror the King of Rock and Roll's tone, the collection offers a great mix of strong material. There are rousing rockers ("Spinout," "Magic Fire" and "Anyone Can Play"), Southern soul ("All I Needed Was The Rain"), and tender ballads ("Cross My Heart And Hope To Die," "There Is So Much World To See"). One of the most interesting songs is "I Got Love" which begins with Campbell sounding like himself against a sparse guitar backdrop before the song picks up and his voice adopts Presley's signature styling. The collection concludes with the lovely "Restless," a ballad never covered by Presley; how wonderful to hear the song sung by Campbell as he conjures up the legacy of both artists. Information: GlenCampbell.com.



Artist: Dennis Roger Reed with Don Reed
Title: Before It Was Before (Plastic Meltdown Records)
You might like if you enjoy: Mumford & Sons, Bob Dylan
Tell me more: With an artistic spirit directed at the strength of a song rather than its specific genre, singer-songwriter Dennis Roger Reed and his brother Don Reed have crafted a freewheeling album (Before It Was Before) mixing up originals and covers spanning country-western, folk, western swing, blues and even a bit of bluegrass. There is an intimacy and warmth across the 21-track collection with ballads and uptempo cuts exuding an inviting touch. The driving "I Had to Ride," affecting "Reconciliation," and country ballad "Up Until Now" all wonderful Reed-penned originals. Among the joyful covers is a countrified take on Bob Dylan's uptempo "If Not For You," a reflective reworking of Michael Hall's "River of Love" an artful reading of the traditional instrumental "Corrina Corrina" and a country rock version of Randy Meisner's "Hearts on Fire." Information: DennisRogerReed.com.




Robert Kinsler



Wednesday, October 10, 2018

The Bangles, Dream Syndicate, Three O'Clock and Rain Parade salute Paisley Underground days on '3x4' from Yep Roc

Exciting news for fans of the wonderful "Paisley Underground" jangle pop genre that emerged in Southern California in the early 1980s, and especially of the best-known artists associated with that melodic movement...


The Bangles, Dream Syndicate, Three O'Clock and Rain Parade salute their 'Paisley Underground' days together by reinterpreting their past on new collection

Hear The Bangles cover Three O'Clock's "Jet Fighter" courtesy of NPR here


At the dawn of the ’80s, The Bangles (then just known as The Bangs), The Dream Syndicate, The Three O’Clock (originally called the Salvation Army), and Rain Parade were all new bands in Los Angeles who formed the core of the small yet influential Paisley Underground scene. In 2013, the four ensembles got back together to share the bill at L.A.’s Fonda Theatre for a charity concert that benefited the non-profit Education Through Music organization. The show went so well and everybody had so much fun that Danny Benair (The Three O’Clock), Steve Wynn (Dream Syndicate), and Vicki Peterson (The Bangles) started talking about doing some type of album to celebrate their Paisley Underground beginnings. 
 
The Bangles
The idea quickly formed that each band would cover one song of the three’s. Plans were discussed but lingered. The project didn’t take off until Benair mentioned it to Yep Roc Recordsco-owner Glenn Dicker, who loved the idea. The four groups then got to work, resulting in the terrific twelve-song collection succinctly entitled 3 x 4: The Bangles, The Three O'Clock, The Dream Syndicate, Rain Parade, which Yep Roc will issue on purple swirl vinyl double LP and CD for Black Friday Record Store Day (November 23, 2018) with a wider release (including digital formats) coming on January 11, 2019
 
The Three O'Clock
The album’s dozen tracks represent a wonderful melding of the original rendition with the personality of the new interpretation. Rain Parade retained the wild sonic assault of the Dream Syndicate’s “When You Smile” but added a twist by going acoustic on the chorus. The Bangles enlisted an Indian percussionist to enhance the dreamy quality of Rain Parade’s “Talking in My Sleep,” while swapping in guitars for keyboards that were on the Three O’Clock’s original “Jet Pilot.”    
 
Because these bands were, and remain, friends who started off performing together at the same time and places, 3 x 4 holds a more personal quality that most tribute projects don’t have. The tunes that each group chose to cover all had deep connections to them. These were their friends’ songs that they admired, that they saw played originally in tiny clubs, in studios, or at parties. 
 
Dream Syndicate
Michael Quericio (Salvation Army/Three O’Clock/Permanent Green Light) recalls, in the liner notes, of being shocked and awed when he first heard “Getting Out of Hand” by the then-still-named Bangs and Rain Parade’s “What She’s Done to Your Mind” on the radio. Wynn, similarly, remembers how he was blown away when he listened to the first Salvation Army single after it came into the record store where he worked; he also admits to just how personal the Bangles’ “Hero Takes a Fall” is to him. 
 
Without giving away too many stories, the liner notes are packed with fond, and perhaps not so fond, remembrances from members of the four groups. They reveal the importance of backyard BBQs and KROQ DJ Rodney Bingenheimer, as well as offering several different recollections about an ill-planned group trip to Catalina Island. Quercio and Benair both share their memories of being asked during an interview with the L.A. Weekly if there was a name for their collection of bands, and Quercio casually blurting out “Paisley Underground,” although no one had used that term before. British rock mags soon picked up on the phrase, however, and the name “Paisley Underground” got stuck on them, for better or worse.
 
Paisley Underground, in fact, wasn’t so much a musical genre as a small scene. The bands didn’t share a specific sound but rather similar musical sensibilities. They were all record geeks who were — as Steve Wynn says of the Salvation Army/Three O’Clock in the liner notes — “hip to the grooviest sound of the ’60s but at the same time had been informed by punk rock.” Taking elements of the Velvets’ drone, Sunshine Pop harmonies, British Psychedelia, and choiceNuggets pieces, each group mixed them in varying amounts to create their own distinct sound. 
 
As Vicki Peterson relates in the liner notes: “We joke about it now, but it really is like we went to school together. Paisley High, Class of ’83. We were each a little different: diligent students and fuck-ups, eager newbies and experienced band veterans … but we all shared an anachronistic fascination for the music and culture of the 1960s. When we eventually found each other, in 1981 and ’82, we bonded together like social outcasts on the Quad.”
 
These grads of Paisley High, Class of ’83, all went on to enjoy long careers in music, and are still active today. The Three O’Clock released several albums in the ’80s for Frontier, I.R.S., andPrince’s Paisley Park labels. They reformed in 2013, with principal members Michael Quercio (vocals/bass), Louis Gutierrez (guitars) and Danny Benair (drums) along with keyboardist recruit Adam Merrin, to perform at the Coachella Music Festival. The Bangles enjoyed wide success on Columbia Records throughout the ’80s with hits like “Manic Monday,” “Walk Like an Egyptian,” and “Eternal Flame.” Their 3 x 4 recordings feature a lineup consisting of all four original members, including bassist Annette Zilinskas
 
Rain Parade made albums on Enigma and Island during the ’80s before splintering. Matt Piucci spent time with Crazy HorseDavid Roback formed the band Opal with the Dream Syndicate’s first bassist, Kendra Smith, before teaming with Hope Sandoval in Mazzy Star(“Fade Into You” fame). Roback’s brother Steven founded Viva Saturn with fellow Rain ParaderJohn Thoman in the ’90s. Those two joined Piucci in reviving Rain Parade in 2012. Between 1982-89, the Dream Syndicate put out a quartet of acclaimed albums. After years of solo or short-term group projects, Steve Wynn reconstituted the Dream Syndicate in 2012 with original drummer Dennis Duck, long-time bassist Mark Walton, and guitarist Jason Victor
 
3 x 4: The Bangles, The Three O'Clock, The Dream Syndicate, Rain Parade winds up not just only celebrating these bands’ shared past but also celebrating how the musicians are today. As Steve Wynn puts it: “I’m glad we’ve kept this thing going. I’ll go on a limb here and say that we all like and respect and admire each other as much as we did back in 1982, maybe even more. We’ve lived lives and learned a few things and know how important and lucky it is when like-minded souls find each other and collide on something really exciting. It’s all still happening!”
CD Track List:
1. Getting Out Of Hand (The Bangles) - The Three O'Clock
2. That's What You Always Say (The Dream Syndicate) - The Bangles
3. You Are My Friend (Rain Parade) - The Dream Syndicate
4. As Real As Real (The Three O’Clock) - Rain Parade
5. Tell Me When It's Over (Dream Syndicate) - The Three O'Clock
6. When You Smile (The Dream Syndicate) - Rain Parade
7. Talking In My Sleep (Rain Parade) - The Bangles
8. Hero Takes A Fall (The Bangles) - The Dream Syndicate
9. Jet Fighter (The Three O’Clock) - The Bangles
10. Real World (The Bangles) - Rain Parade
11. What She's Done To Your Mind (Rain Parade) - The Three O'Clock
12 She Turns To Flowers (The Three O’Clock) - The Dream Syndicate

Band photo credits above: The Bangles (Autumn de Wilde); The Three O'Clock (Chris Haston); The Dream Syndicate (Chris Sickich).

Thursday, April 25, 2013

Coachella 2013: Day 3 highlights from Three O'Clock, Dinosaur Jr., OMD, Dead Can Dance and more

My coverage of the third and final day of Coachella Weekend 2 originally ran on The Orange County Register Web site on Monday, April 22, 2013.

Sun sets on the final day of Coachella 2013. Photo: Robert Kinsler

Sunday (April 21, 2013) may be the day when even the most seasoned Coachella-goers run on fumes, especially with temps reaching into the mid-90s. But the force of several strong performances left me thinking: "If the music is this good, keep it coming."
At the start of the final rundown, about half past noon, Little Green Cars appeared in the Gobi tent for a seven-song set pitched somewhere amid the alt-folk of the Lumineers, the Civil Wars and Dawes. The Dublin quintet spun lush harmonies, showed off two gifted lead singers and mixed up complementary clean and distorted guitars in a way that made both sound necessary. The group ended its 30-minute run with "The John Wayne," a heartfelt tale of unrequited love wrapped in rich vocals.
Louis Gutierrez, left, and Michael Querico. Photo: Robert Kinsler
When I first heard earlier this year that the Three O'Clock would reunite for this Coachella, I wondered if it was the same band I used to see at area clubs in the early '80s. Fast forward to Sunday afternoon and there I was watching almost the original quartet serving up its stew of '60s greats like the Zombies, the Byrds and mid-era Beatles.
Led by singer-bassist Michael Querico and guitarist Louis Gutierrez, the band's fast-paced set included classics such as "Simon in the Park (With Tentacles)," a brilliant version of "Jet Fighter," even a hard take on Pink Floyd's "Lucifer Sam," something they shined with during their warm-up a couple weeks ago at the Glass House in Pomona. The songs were always more than they appeared, with punchy bass solos, evocative keyboards, sometimes 12-string Rickerbacker jangle and distinctive drum patterns all part of the attack.
A young twentysomething woman next to me noted that she had flown all the way from Japan just to see the group. Indeed, the Three O'Clock's return will be one of the things I'll remember most about Coachella 2013. Let's hope this is a reunion that sticks.
That bunch was the first of several veteran acts that turned in strong, well-received sets in Indio on Sunday. Performing on the Outdoor Theatre stage, legendary trio Dinosaur Jr. (boasting its original lineup of singer-guitarist J Mascis, bassist-singer Lou Barlow and drummer Murph), used its 50-minute allotment to blast through a set of mostly originals steeped in chainsaw guitar, feedback and distortion. They also toss in a reworking of the Cure's "Just Like Heaven," Mascis delivering Robert Smith's distinctive guitar lines with fluid bursts of staccato notes.
I then ran over to the main stage where O.C.'s own Social Distortion was just getting started.
There was little doubt leader Mike Ness, who noted how much better the crowd was this time, recognized the significance of this second chance at a lasting Coachella performance. He and his band turned in a set of best-known songs designed to impress even those positioned at the furthest reaches of the Empire Polo Club.
Opening with "Reach for the Sky," then diving into the crunchy "Bad Luck," the quartet's nine-song appearance ended with their long-loved and rocked-out version of the Johnny Cash classic "Ring of Fire," with a good-sized mosh pit breaking out, bringing a bit of Hootenanny to Indio.
Watching the crowd pack into the Gobi tent to watch Orchestral Manoeuvres in the Dark (OMD) was an amazing sight. Here's a forebear that couldn't be more relevant to today's electro-pop scene, a New Wave fixture whose groundbreaking sound was no longer in fashion by the late '80s, yet who has proven how impossible it is to keep a good band down.
Singer-bassist Andy McCluskey was a ball of energy as he led his three bandmates and the party-minded multi-generational gathering of fans through the British troupe's classics as well as cuts from recent releaseEnglish Electric. The audience ate up the propulsive glee of "Enola Gay" and was caught up in the group's new single, "Metroland," but by the time OMD closed with "Secret" and the fast-paced "Electricity," I could actually feel the ground moving below my feet from thousands dancing frantically.
Lisa Gerrard, left, with Brendan Perry. Photo: Robert Kinsler
Mojave hosted one of the final performances of the fest, from genre-defying Dead Can Dance. Brendan Perry and Lisa Gerrard led an ensemble of four other musicians through an hour-long set of songs that blended world music, gothic rock and neoclassical together with trademark mystique. Perry's mighty baritone is as forceful as Gerrard's soaring soprano, and both took turns on lead vocals over the course of eight selections.
"Children of the Sun" opened with a range of percussion and keyboards used to cast a vast soundscape around Perry's delivery, while Middle Eastern sounds later graced "Agape," with Gerrard's voice in full flight. DCD's set ended with the wonderful "The Ubiquitous Mr. Lovegrove," the outfit's stirring atmospherics providing an otherworldly backdrop to Perry's resonate vocals.