Bonnie Raitt, left, with John Prine at the 2020 Grammys' Lifetime Achievement Awards on January 26, 2020. Photo courtesy of the Recording Academy.
Post by Robert Kinsler A week after the world lost Adam Schlesinger, now comes the terrible news that COVID-19 has also taken John Prine. The two-time Grammy winner was 73. He died earlier today (April 7, 2020) at Vanderbilt University Medical Center. Earlier this year the legendary artist was recognized with one of the Grammys' Lifetime Achievement awards. He was paid tribute by the great Bonnie Raitt, who performed an acoustic version of Prine's classic "Angel From Montgomery" in homage. "My friend John Prine, who is sitting right over there, wrote 'Angel From Montgomery' and so many other songs that changed my life," Raitt rhapsodized following the performance, while Prine was given a standing ovation in the audience. "I love you, John." I loved Prine's set when I last caught him at the Stagecoach Festival in Indio, CA in spring 2014. Noted long-time Los Angeles Times music writer Robert Hilburn just tweeted out, speaking for many: "It's a heartbreaking night for all of us who've loved John Prine's music for all these years. RIP. He was 73. On the very top shelf of American songwriters." The band Dawes also responded to his passing: "RIP John Prine. Thanks for being so much more than we could ever deserve."
John Prine performing at the Stagecoach Festival.
Songstress Whitney Rose also reacted: "Thank you, John. You raised the bar in every way. Rest in power knowing that you changed the world for the better." Roger McGuinn wrote: "Peace John Prine. He was a major influence in my life and a fellow student at the Old Town School of Folk Music in Chicago. His storytelling ability was amazing!" Tweeted Peter Holsapple: "We have lost a giant. Rest In Peace." The official account for the Stagecoach Festival spoke for many this evening: "One of the best there ever was. Love you forever John." John Fogerty acknowledged the tremendous loss: "Rest In Peace, John Prine. You're in paradise now." Bruce Springsteen wrote: "Over here on E Street, we are crushed by the loss of John Prine. John and I were "New Dylans" together in the early 70s and he was never anything but the loveliest guy in the world. A true national treasure and a songwriter for the ages. We send our love and prayers to his family." Bonnie Raitt tweeted following the loss of her good friend: "Words can't even come close. I'm crushed by the loss of my dear friend, John. My heart and love go out to Fiona and all the family. For all of us whose hearts are breaking, we will keep singing his songs and holding him near."
RECORDING ACADEMY® STATEMENT REGARDING JOHN PRINE TUESDAY, APRIL 7, 2020
We join the world in mourning the passing of revered country and folk singer/songwriter John Prine. John earned 11 GRAMMY® nominations and received two GRAMMY Awards® for Best Contemporary Folk Album, one for The Missing Years at the 34th GRAMMYs® and another for Fair & Square at the 48th GRAMMYs. His self-titled debut album was inducted into the GRAMMY Hall Of Fame® in 2015, and just recently he was announced as a 2020 Recording Academy® Lifetime Achievement Award recipient for his contributions to music during his nearly five-decade career. Widely lauded as one of the most influential songwriters of his generation, John’s impact will continue to inspire musicians for years to come. We send our deepest condolences to his loved ones.
Harvey Mason jr. Interim President/CEO Recording Academy “We were saddened to learn of John Prine’s passing, the loss of a true American treasure. He was admired both for his art and for his sheer humanity. He had a nobility that radiated liked a million watt radio station just across the border. We last crossed paths at the Memphis Music Hall of Fame ceremony where he inducted Cowboy Jack Clement and we got to do the honors for Roy Orbison. We greeted each other warmly and I vividly recall passing a most pleasant time with the genuine article. Never to be forgotten.” - Billy F Gibbons “In the summer of 1973, days after I’d seen my first rock concert (Grand Funk Railroad), Steve Leder, my friend and band mate, took me downstairs to his teen lair and played me John Prine’s “Dear Abby.” “Whaddya think,” he asked. ‘Country’ I thought. ‘I hate country.’ Steve picked up the needle and played the song again. And once more after that. I started to hear something in those lyrics; John Prine was speaking to me. He was wry, he made me smile, he was doing something different. It wasn’t Grand Funk. It wasn’t Alice Cooper or The Rolling Stones either. With just his acoustic guitar and a ragged voice it became clear that you didn’t need stacks of Marshall amps to blow people away. You needed only to mine the minutiae of living and take careful notes to make people feel the weight of their humanity.” - Peter Himmelman "My world, the world of songwriters and guitar pickers, is reeling from the death of John Prine yesterday. We labor at our craft in hopes we can attain some vague approximation of the easy genius of his songs. John Lennon said the artist’s role is as “a reflection of us all,” and no one did that with as much facility as Prine, in my opinion. From Mr. Peabody’s coal train to a poster of an old rodeo to hammering nails in planks to hair so unnaturally curled, any listener could relate to his characters and his takes on love and life. There was a plain generality to it, but it was filled with so many tiny bejeweled details that addressed the specific as well. And oh, the emotion from that road-worn beat-up voice. The real thing in every respect. We are left with a catalog of his songs, a phalanx of his albums and minds full of memories to assuage this loss as best we can. It’s so vast, yet I think we all hoped for even more from John, had his life not been cut short. We will have to learn to be satisfied with what we have and to revel in all of it. We hoped for a miracle that did not come for John; and when it didn’t happen, he accidentally became someone in one of his own songs." - The dB's Peter Holsapple “More than once, I saw Prine get so tickled with himself he couldn’t keep his teeth in his mouth, the grin would overtake him, but he’d keep talking anyway. I remember him pointing at the TV screen one night in the early nineties. The news was showing clips of the crowd at a folk festival that had taken place that afternoon and the people looked like they were trying to re-create Woodstock, headbands, tie dye, the usual. Prine said, ‘Look at them out there trying to be hippies. There’s not a cavity in that whole crowd. I never met a hippie chick didn’t have a mouth full of rotten teeth.’ John Prine was a realist.” —James McMurtry
"My first ever live concert at the esteemed ‘mother church’ The Ryman Auditorium was John Prine...and I sat there like a school kid waiting for the spring break bell, I was so excited...he did all his greatest hits, but at that time (around 1995)...he was especially pushing his newest body of work, Lost Dogs and Mixed Blessings. I believe I had a spiritual awakening when I heard him and his full band do 'Lake Marie' for the first time, in THAT venue. I mean, my soul shook. Funny thing is, I still feel that way EVERY time I hear it now, long after....just like I do when I hear Ain’t Hurtin Nobody. All the Way with You. We Are the Lonely. I Love you So Much It Hurts and This Love is Real. There’s not a weak song on the whole damn record, but then....that was John. He was one of those lyrical untouchables, but every word, every single word, reached out and touched you. He was the apidimi of real. All those great songs, all those great records, such a lovely man...such a gentle soul. Good God!!!
We cried in our kitchen tonight when we found out he’d passed away. Matt and I both realized we’d only met him once each, but both experiences equally important enough to remember for life. John remembered your name. He made such tender-hearted eye contact, he shook your hand and made you feel like you were long lost family. He wasn’t a show-boater or a grand-stander and he didn’t seem like he had much use for those that were.
He wrote simple songs with fairly simple chords about real life things, but NOBODY could do em like he could. You could tell he had a mind that was deep as the deepest well and that’s why writing simple songs is so complex. It’s flat out hard to say the same ol’ thing and make it sound new, fresh, genuine, and poetic. John Prine was one of my all time favorite poets. The world will be one less honorable and talented man going forward. One less legend. Selfishly, I’d just wished I’d have gotten to sit and share lunch with him at his favorite meat and three where we met once, and visit a spell....or sing a duet with him....and watch him do his thing from a few feet away, I’ll always be a little extra sad about that. I wish love and support to his wife Fiona and his family during this confusing time in our universe. Bless you all. One of the all time favorite quotes from the movie Daddy and Them was a line John so perfectly and timely delivered “Don’t never let it be too late...” John Prine, you were right on time, and you touched the hearts of every set of ears that got to hear you. Until we meet again, I look forward to that lunch." - Heidi Newfield
“John Prine was one of the most introspective songwriters of our time.
I was introduced to John Prine’s songs while on Navy leave in a small club in Charleston, SC. many years ago. Songs like “Dear Abbey” and “Sam Stone” drew me in as a fan of great lyrics. But “Hello In There” and “Angel From Montgomery” stole my heart and became my favorites.
John Prine not only inspired me to be a songwriter, but to want to be a better songwriter. I’m still working on that...
Rest In Peace John.” - Ruthie Foster
Read an outstanding remembrance of Prine's life and art just published in American Songwriter here.
Finally, watch a moving October 1, 2019 performance of Prine performing "Summer's End" backstage at the John Anson Ford Theater:
Today comes news about one of the year's most highly-anticipated album releases, The Psychedelic Furs' upcoming 'Made of Rain.' On a somewhat related note, you can read my review of the band's memorable July 2018 concert at the Pacific Amphitheatre in Costa Mesa, CA here.
Richard Butler of the Psychedelic Furs greets fans at Pacific Amphitheatre in Costa Mesa on Thursday, July 19, 2018. (Photo by Miguel Vasconcellos, OC Fair & Event Center)
The much-anticipated upcoming studio album by The Psychedelic FursMade of Rain has moved to July 31 by Cooking Vinyl. The Psychedelic Furs have released the following statement via their Facebook page, "Due to the current situation we are all facing around the world, and because of the logistical issues it has presented us with, we have made the difficult decision to reschedule the release of Made Of Rain to July 31st. It's been a long time since we've put out a new album, and we want to make sure that we can make it available to everyone. A bit of a delay will allow us to do that. Thanks for your patience! #PFurs#MadeOfRain#StaySafe"
Adam Schlesinger, on the right, with Fountains of Wayne. Photo: Courtesy of the Artist
As I write this column it's unbelievable that more than 337,000 Americans have been stricken during the coronavirus pandemic; sadly more than 9,600 persons across the U.S. have died as of April 6, 2020. Among those who have lost their life from complications caused by COVID-19 is singer-songwriter/multi-instrumentalist/music producer Adam Schlesinger. The famed artist —only 52 and the father of two young daughters — died on April 1, 2020 in an Upstate New York hospital after reportedly battling against the infectious disease for more than a week. Although Schlesinger was best known as a member of groundbreaking New Jersey-spawned power-pop quartet Fountains of Wayne, over the past 25 years he was an in-demand tunesmith and producer who achieved acclaim for far-flung projects that earned him a Grammy win along with multiple Emmy wins and even an Academy Award nomination. Sprinkled across Fountain of Wayne's handful of full-length albums are countless masterworks (FoW also featured lead vocalist Chris Collingwood, lead guitarist Jody Porter and drummer Brian Young). Here are some of my favorites songs that benefit from Schlesinger's artistic touch.
Fountains of Wayne
"Radiation Vibe" — A stellar cut from FoW's eponymous 1996 debut, "Radiation Vibe" is bolstered by edgy guitar (including a touch of artful feedback), a driving rhythm section and an anthemic chorus. "She's Got a Problem" — Another standout from Fountains of Wayne, the wistful "She's Got a Problem" is a wonderful song that is more ballad than rocker but nevertheless has a driving quality that warrants the fuzzy guitars and sonic shadows of Lou Reed. "Sick Day" — Brilliant. The mix of literate and observant lyrics about the challenges of going into the office day after day enhanced by a rich melodic rockscape combine for a powerful punch. Another highlight on FoW's debut. "Hackensack" — FoW is best known for their gloriously uptempo power-pop-meets-indie rock. However, immerse yourself in "Hackensack" (off 2003's Welcome Interstate Managers), a baroque pop ballad that is as tender and affecting as anything put on disc that decade. "Mexican Wine" — We could all use a little hope in these dark times, right? Just listen to the melancholy-drenched chorus from "Mexican Wine" off Welcome Interstate Managers: "The sun still shines in the summertime / I'll be yours and you'll be mine / I tried to change but I changed my mind / Think I'll have another glass of Mexican Wine." A witty and tuneful song that kicks off the album, the ambitious harmony vocals and dramatic dynamics on the track make this one of the band's most interesting cuts. "Stacy's Mom" — Fountains of Wayne's biggest-ever hit, the 2003 single "Stacy's Mom" reached number 21 on the US Billboard Hot 100. The infectious track revisited the sound of the Cars to be sure, and the accompanying much-played music video starring model Rachel Hunter (conjuring up the 1982 teen coming-of-age flick "Fast Times at Ridgemont High") helped solidify the song's success. "The Girl I Can't Forget" - One of the standouts on the 2005 compilation collection Out-of-State Plates is the exuberant "The Girl I Can't Forget." Few artists have ever delivered as convincing a story of youthful lust-meets-enduring love with as much force and cleverness wrapped in melodic sheen over a mere 3 and a half minutes as Fountains of Wayne achieved with this joyful ride. "Strapped for Cash" — I was listening to "Strapped for Cash" (off 2007's Traffic and Weather) recently and memories of FoW tearing through the rocker on the main stage at Coachella in 2007 came flooding back to me. Like so many of FoW's greatest songs, there is a combination of brilliant storytelling, smart wordplay and undeniable song craft that makes for required and repeated listens.
"Someone's Gonna Break Your Heart" — When FoW released their brilliant album Sky Full of Holes via Yep Roc Records in summer 2011 few knew this would be the band's final studio effort. As years go by, I become more bewitched by the musical magic and lyrical poetry painted across its lucky 13 tracks. "Someone's Gonna Break Your Heart" is just one of the classics on the disc. The lines enthrall, none more than this: "Melancholy comes like a robin at your window."
Favorite Other Projects "That Thing You Do" — The instantly-memorable title cut from the Tom Hank-directed film "That Thing You Do!" sounds as great today as it did when we first heard the Beatlesque gem in movie theaters and over the airwaves in 1997. Schlesinger wrote the song and sang back-up vocals on the recording as well. "Work To Do" — The duo America's bona fide comeback album, 2007's "Here and Now" featured the legendary act performing Schlesinger's inspired "Work To Do." The breezy folk rock song blends the strains of Americana and tuneful pop in a beguiling track custom made for America singers Dewey Bunnell and Gerry Beckley. Here and Now also features the winning "Ride On," an acoustic-flavored nugget he co-wrote with Bunnell.
"Our Own World — Monkees fans will always be grateful for Schlesinger's production on the band's most recent two studio albums (2016's Good Times! and the 2018 holiday album Christmas Party). On the wonderful "Our Own World," Schlesinger's contribution includes writing the inviting track and playing bass guitar as well. "Me & Magdalena" — One of the most beautiful pop recordings in recent memory, the Ben Gibbard-penned "Me & Magdalena" may well be the highlight on the Schlesinger-produced Monkees LP Good Times! The nuanced production showcases Schlesinger's all encompassing gifts as a master in any corner of a recording studio. "House of Broken Gingerbread" — Schlesinger teamed up with American novelist Michael Chabon to co-write the rollicking power pop salvo "House of Broken Gingerbread" for the Monkees' Christmas Party. Don't let the title fool you; Micky Dolenz delivers an amazing lead vocal performance on an instant classic that sounds as good in summer as around Christmastime.
Dewey Bunnell, left, and Gerry Beckley of America perform at the Coach House in Orange County, CA, in December 2014. Photo: Kelly A. Swift
This is amazing news for America fans, including yours truly. (Check out my review of the first time I caught America in concert here)...
America To Release “Half Century” Box Set To Celebrate 50th Anniversary!
Rare archival studio & live recordings consisting of alternate mixes, demos and rehearsals
The year 2020 marks the 50th Anniversary of music legends America. America Records is proud to release in early June the ultimate 8-disc Anniversary Box Set Half Century. Produced for release and Compiled by Jeff Larson for America Archives, Containing CD's of rare archival studio recordings consisting of alternate mixes, demos and rehearsals, including several previously unreleased tracks ranging from 1970 - 2000. Along with the re-mastered Bremen 1973 in studio performance and two CD's of Radio Interviews providing an audio overview of the band's career, along with a DVD of Super 8 “Home Movies” (1972-1975) to give fans a behind the scenes look at the early years of this enduring band.
Founding members, Gerry Beckley and Dewey Bunnell (along with former band mate Dan Peek) met in high school in London in the late 1960s and quickly harmonized their way to the top of the charts on the strength of their signature song “A Horse With No Name.” America became a global household name and paved the way with an impressive string of hits following the success of their first #1 single. Forty plus years later, these friends are still making music together, touring the world and thrilling audiences with their timeless sound.
From their formative years, America has been a band capable of transcending borders with its uplifting music and positive message. Embracing a rainbow of divergent cultures, America's audiences continue to grow, comprising a loyal legion of first, second and third generation fans, all bearing testament to the group's enduring appeal.
“I think that the ingredients of the America sound are the basic fundamentals that translate internationally,” explains Beckley. “The Italians are huge fans of dance music, but they also love a ballad - they're romantic at heart. It's the same in the Far East. A lot of times in these countries, we see people singing along, and they don't really know what the words mean. Music is truly the international language.”
Disc 1: London Demos 1970: All Previously Unreleased Early demos from the Fall of 1970 of the trio preceding their first Warner Bros self-titled album. This set represents the most complete set to date from this era recorded between several iconic London studios of the time. 1) Children (Dick James Session) 2) Riverside (Chalk Farm) 3) Rainy Day (Polydor Studios) 4) Here (Chalk Farm) 5) Satan (Polydor Studios) 6) Bummer (Chalk Farm) 7) Sea of Destiny (Chalk Farm) 8) How Long (Chalk Farm) 9) James Holladay (Dick James Session) 10) Children (Chalk Farm) Disc 2: Bremen 1973 (Live on Air) – First Time Remastered Audio Release (Only previously available as a DVD) An on-air live recording of the Trio from 1973, in-between the albums “Hat Trick” and “Holiday.” This recording has been remastered for the first time and includes all the un-edited studio banter. 1) Ventura Highway (Live) 2) I Need You (Live) 3) Don't Cross The River (Live) 4) A Horse With No Name (Live) 5) Moon Song (Live) 6) Lonely People (Live) 7) Wind Wave (Live) 8) Rainbow Song (Live) 9) Tin Man (Live) 10) California Revisited (Live) 11) Green Monkey (Live)
Disc 3: The Caribou Sessions 1976 - All Previously Unreleased Rehearsals, outtakes, and demos from February1976 for the album “Hideaway,” recorded at the famed Caribou Ranch Studios in the Rockies - Nederland, Colorado. These recordings provide a “you are there” experience as these songs were being formed on their initial takes. 1 She's A Liar (Outtake / Alternate Mix) 2 Amber Cascades (Alternate Early Mix) 3 Today's The Day (Outtake / Walkthrough) 4 Lovely Night (Outtake / Take 1 Session 5 Hideaway PT 1 (Early Band Outtake) 6 Watership Down (Alternate Mix) 7 Letter (Alternate Mix) 8 Lovely Night (Buzz Studio Demo) 9 Jet Boy Blue (Outtake / Alternate Mix) 10 Who Loves You (Alternate Mix) 11 Caribou (Outtakes Montage) 12 I'm New In Town –(Buzz Studio Demo) Disc 4: The Poison Oak Sessions 1981: All Previously Unreleased In 1981, between the album “Alibi” (1980) and “View From The Ground” (1982), the band recorded several songs at Dewey's home studio, Poison Oak, in Northern California. This set contains early incarnations and alternate versions of songs released on later America albums as well as unheard songs that have been in the vault until now. 1. Sailors and Seagulls (unheard song) 2. Look at Me Now (Early Version) 3. My Dear (Early Version) 4. Sometimes Lovers (Early Version) 5. All The People - Whole Wide World (Early Version) 6. Coming On (unheard song) 7. Now I Want Your Love (unheard song) 8. Inspector Mills (Early Version) 9. China Sea (unheard song) Bonus Tracks: 10. Doesn't The Time (unheard song) 11. Someday Forever (unheard song) Disc 5: The Alternate 90's Plus: All Previously Unreleased Alternate mixes from the albums “Hourglass” (1994) and “Human Nature” (1998) along with unreleased songs that came before, in-between and after these official releases. 1. Young Moon (mix without inst. intro) 2. Call of the Wild (Alternate Early Mix) 3. Sleeper Train (Alternate Early Mix) 4. Ports of Call ((Alternate Early Mix) 5. Mirror to Mirror (Alternate Early Mix) 6. Whole Wide World (Alternate Early Mix) 7. Hope (unheard song) 8. The Hills Are Green (unheard song) 9. Horse (Interlude) 10. From A Moving Train (Single Version - edited shorter intro) 11. Wheels Are Turning (unheard song) 12. Town and Country (unheard song) 13 Moment To Moment (Alternate Mix) 14. Wednesday Morning (unheard song) 15. Oloololo (unheard song) 16. Overwhelming World (Alternate Mix) 17. Moment to Moment (Alternate Mix) 18. Hot Town (unheard song) 19. Pages (Alternate Early Mix) 20. If It Is The End (Previously Unreleased) 21. Remembering (New 2020) Discs 6 & 7 America on the Radio - All Previously Unreleased Various radio interviews stemming from 1974 - 2000's which provides a narrative and unique overview to their long career. America Radio Interviews and Promo - The 70's America Radio Interviews and Promo - The 80's America Radio Interviews and Promo - The 90's - 2000's
EXCLUSIVE TO THE BOX SET! Disc 8 – America - Home Movies (DVD)- All Previously Unreleased “Home Movies” is all previously unreleased footage from the bands personal archive. A collection of very, “fly on the wall” footage, these films provide an amazing insight into the band, shot between 1972 and 1975, showing behind the scenes footage of, “Hat Trick at Home”, early attempts at making home making of music videos and various on the road activities. These films give the viewer an amazing view of historical events as they unfolded. To any America fan, the ultimate access all area’s time machine. This DVD is EXCLUSIVE to this box set and will not be available beyond it. Film 1) America Hat Trick at home 1: Rooftop Jam - Green Monkey - 1973 Kings Road, Los Angeles, CA Film 2) America Hat Trick at home 2: Goodbye – 1973 Kings Road, Los Angeles, CA Film 3) America Hat Trick at home 3: Sandman – 1973 Kings Road, Los Angeles, CA Film 4) America Hat Trick at home 4: Hat Trick Rehearsal - 1973 Kings Road, Los Angeles, CA Film 5) America: Bremen Behind The Scenes - 1973 (No Audio) Bremen, Germany Film 6) America: Dorothy Chandler Pavilion 1 – 1973 Los Angeles, CA Film 7) America: Air Studios - London Misc. Footage - 1974 London, England Film 8) America: Airplane High Jinx 1 - 1974 (No Audio) In the Air Film 9) America: Airplane High Jinx 2 – 1975 In the Air Film 10) America: Tour Plane Interview – 1975 On the Ground
What promises to be one of the best albums of the year (based upon the fantastic track "Lighthouse Spaceship," here are details about the debut offering from The Lickerish Quartet.
THE LICKERISH QUARTET
THREESOME VOL. 1
Roger Joseph Manning Jr. Vocals, Keyboards
Tim Smith Vocals, Bass, Guitar
Eric Dover Vocals, Guitar
Absence makes the collaborative heart grow fonder. Just ask the three masterful musicians who comprise the modern-day supergroup known as The Lickerish Quartet. Fans and eagle-eared listeners alike will instantly recognize the shared pedigree that Roger Joseph Manning Jr. (Beck, Air, Cheap Trick, Imperial Drag), Tim Smith (Noel Gallagher’s High Flying Birds, The Finn Brothers, Sheryl Crow, Umajets), and Eric Dover (Imperial Drag, Slash’s Snakepit, Alice Cooper, Sextus) all have together by way of the melodiously fruitful time they spent in the ’90s alt-rock cult-favorite collective known as Jellyfish. After many years in the interim of supporting the visions of other artists, they were eventually able to reconvene on their own in early 2017, spending whatever time they could spare in the ensuing three years to create something they could truly call their own.
To that end, Manning, Smith, and Dover’s undeniable chemistry can now be found within every sonic pore of the four songs that comprise The Lickerish Quartet’s cheekily named Threesome Vol. 1 EP, which is set for release on May 15, 2020 via The Lickerish Quartet/Label Logic, as distributed by Ingrooves. From the mischievous harmonic invitation of “Fadoodle” to the folk-tinged uplift of “Bluebird’s Blues” to the twangy lamentation of “There Is a Magic Number” to the cosmic muscle of “Lighthouse Spaceship,” ThreesomeVol. 1 confirms the communal strengths of a trio of songwriters who have clearly retained an intuitive sense of knowing exactly how to elevate the sum of each other’s musical chops.
Watch the lyric video for "Lighthouse Spaceship" here.
“While touring with Jellyfish, it was pretty clear to me that both Eric and Tim had plenty to say as writers in their own right,” Manning reports. “All these years later, it was like picking up where we left off in many ways. Ultimately, the songs go on their own journeys, but I also think our collective vocal sound puts a stamp on all of them, no matter who’s singing lead. That’s what really joins it all together.” Smith very much agrees with that assessment. “It’s a good feeling knowing we found a way to blend together again as the three of us, and then find new ways to explore our ideas,” he marvels. “I think all the songs we did make something magical out of the mundane aspects of daily life.”
Threesome Vol. 1 opens with “Fadoodle,” a Dover-driven look at how to rekindle the fires of a long-entrenched relationship. “Well, I’m always looking for new ways to say dirty things,” Dover observes with a laugh. “I found a big list of naughty words from back in the day for what people used to denote fornication. It’s fascinating, because this has the distinction of being a pop song that has the world’s oldest slang yet is released in the 21st Century.” Adds Manning, “This one has that eighth-note driving thing that was a big part of the glitter sound of the early punk wave, so it’s got that kind of energy right out of the gate. Thankfully, once we had Eric’s lyric in place, it was just a free-for-all in having fun with the vocal interplay.”
Next comes Manning’s “Bluebird’s Blues,” which features Mellotron and a 3D feel born from a musical bed he initially came up with back in 1988. “That one was very much a guitar song,” explains Manning, “and after showing my idea on piano to Tim and Eric, they were able to run with it immediately to give it that folkie guitar feel that it needed, and was calling out for. All of our contributions, including those of our drummer Jeremy Stacey, show the intricacies and clever ways of how we were able to move through that folk chord progression.” Interjects Dover, “It was an instantaneous thing we did, from Note 1. It set the mood, and it’s a beautiful moment. Being able to do that is one of the things we have going on together musically.”
The third track is “There Is a Magic Number,” a Smith-penned rumination on how to deal with the sad circumstance of two people who have drifted apart after putting the blame for their dissolution on a number that signified the last straw — all buttressed by a signature trippy guitar line courtesy of Dover. “That just had to do with my favorite ’60s psychedelic garage records along with a little bit of surf music thrown in because I like some of those clean, twangy things,” Dover confirms. Adds Smith, “You never really hear any sad surfer music, do you? I just thought this was an interesting play on the idea of what could cause a relationship to end, without them really knowing why but blaming the circumstances on the final number you reach in your head after experiencing X amount of things, X amount of times.”
The EP concludes with the quite heady 6½-minute trip on a “Lighthouse Spaceship.” Manning reflects, “It was just a big experiment we were eager to conduct, and Eric’s genesis for the idea of the lyric really helped pull it all together. Once we had that very vivid imagery in hand, we could start expanding upon it in the arrangement to help paint the visual extension of his lyrics, which are wonderfully psychedelic.”
While The Lickerish Quartet don’t anticipate playing any live dates together anytime soon, they can confirm there are two more four-song EPs waiting in the wings, if demand warrants their release. Acknowledges Manning, “Realizing original ideas of my own is the most gratifying thing about making music, and the natural progression of what the three of us are doing together is you want to share it with people.” Declares Dover, “I’m always going to have time for doing music with these two people, even if we don’t live near each other. And if we only do two songs instead of 12, then we only do two. I’m cool with that.” Concludes Smith, “There’s a level of trust between collaborators who all share the same general goal. Only that can keep it interesting and push it even further to where it can go. At the end of the day, as long as all three of us are excited and inspired with what we come up with, we’ll figure out a way to do more of it.” Hear, hear. Given the inherent, aurally seductive nature of Threesome Vol. 1, we have a feeling many fans both old and new will want much more of The Lickerish Quartet music in their lives — and then some.
Amidst all the tough news lately, one good thing to look forward to is the release of a new digital release from The Record Company tomorrow, April 3, 2020...
The Record Company to release Early Songs and Rarities
The sold out 12” special edition vinyl LP from Record Store Day Black Friday 2019
Los Angeles, CA (April 2, 2020) – Grammy-nominated trio The Record Company will release Early Songs and Rarities, a SOLD OUT 12” special edition vinyl LP of 11 previously unreleased recordings that was available exclusively for Record Store Day Black Friday 2019, digitally this Friday, April 3rd 2020.
The RSD Black Friday sell out LP followed another huge year for the Los Angeles-based band – Chris Vos (vocals, guitars, harmonica), Alex Stiff (bass, guitars, vocals) and Marc Cazorla (drums, piano, organ, vocals) – who released their sophomore album All Of This Life in June 2018 via Concord Records. The album debuted in the top 5 on multiple Billboard charts, including Top New Artists and Top Alternative Artists, and lead single, “Life To Fix” hit #1 on the Billboard AAA charts, the FMQB Top 200, and the Americana radio chart.
When I learned of the death of Adam Schlesinger yesterday afternoon at the hands of COVID-19, I was too upset to immediately write anything (he reportedly passed away on Wednesday, April 1, 2020). Although I only caught his band Fountains of Wayne once in concert (you can read my glowing review of the band's January 2009 performance at The Coach House here), I have since explored most of the band's rich discography and have appreciated Schlesinger's top-tier skills as a songwriter and producer. Although he had already enjoyed a long and successful career (he was an Emmy and Grammy winner, and earned an Academy Award nomination for his “That Thing You Do!,” the title track to the 1996 Tom Hanks-directed film), he was only 52. He is survived by his two children, making his early death additionally heartbreaking.
Fountains of Wayne, from left, guitarist-singer Jody Porter, drummer Brian Young, singer-guitarist Chris Collingwood and bassist-singer Adam Schlesinger. Photo: Courtesy of Fountains of Wayne
As fine as the song "That Thing That You Do" and the 2003 FOW hit "Stacy's Mom" are, I really encourage music lovers to explore his other work with the New Jersey-spawned power-pop band and some of his work as an album producer (especially his role on the Monkees' 2016 wonderful comeback Good Times! and 2018's equally-stellar Christmas Party; he produced and wrote songs on both discs) and as a songwriter across television (Sesame Street, Big Time Rush, Crank Yankees and more).
The album artwork for 'Sky Full of Holes'
My favorite FOW album is the 2011 masterwork Sky Full of Holes. Almost every music fan has certain albums that connect with them in deep and intangible ways. As a life-long musician and music fan, I have many albums that connect with me that way to be sure. But I count Sky Full of Holes with its perfect blend of melody and melancholy, shimmering song craft and emotional punch as a perfect album. But that is not the band's only great album; the band's self-titled 1996 LP, 1999's concept album Utopia Parkway, 2003's Welcome Interstate Managers and 2007's Traffic and Weather are all outstanding and sound as great today as on their respective release dates. John Brodeur of Bird Streets wrote on Twitter on April 1: "I am in shock. Devastated. Adam was a good and generous friend. We had planned to write together before this all started. It meant so much to me that he was interested. I hoped and prayed he would beat this, and I want badly for it to not be true."
From left, the Monkees' Peter Tonk and Micky Dolenz with Adam Schlesinger. Photo: Rhino Records
John Hughes, Rhino Records' Senior Vice President of Fan Engagement wrote: "Adam Schlesinger's kindness and blazing talent were unmistakable. I will miss my friend, and the world will miss his musical spark." “There would be no Playtone without Adam Schlesinger, without his That Thing You Do!” Tom Hanks wrote following the death of the artist. Hanks also was stricked by the coronavirus last month. “He was a One-der. Lost him to Covid-19. Terribly sad today.” Robert Kinsler
