Chris Robinson Brotherhood - Phosphorescent Harvest

Chris Robinson Brotherhood - Phosphorescent Harvest
Recorded at Sunset Sound, Los Angeles, CA
Produced by Thom Monahan
Silver Arrow Records, April 2014

The Chris Robinson Brotherhood are a breath of fresh Californian air that harks back to glory days of The Grateful Dead and Little Feat Led by former Black Crowes front man Chris Robinson and former Ryan Adams & the Cardinals guitarist Neal Casal, CRB were formed in 2011 and have toured and recorded continuously ever since.

Their first two albums, 2012's Big Moon Ritual and The Magic Door, were both wonderful records of Dead-influenced jam rock, reeking of a bygone era. However, their 2014 effort, Phosphorescent Harvest sees the group tightening their sound and coming into their own musically and as songwriters. The songs are overall shorter and length and carefully constructed, contrasting from the looser, care-free style of their first two records. Also, the artwork is just truly spectacular and one of my favorite vinyl sleeves!

The opening number 'Shore Power' starts initially as quite a straight boogie rock song with a chugging guitar riff. However, the CRB don't do straight and the song quickly is turned on its head with some slightly suspect synth sound and some kooky effects which makes the song far more interesting. A powerful opening, 'Shore Power' has a terrific breakdown, where the tight groove collapses (albeit briefly) into a sludge-rock section, with some great guitar work and background vocals. The song flows seamlessly into the terrific, slow country groove of 'About Stranger'. Casal's guitar and Robinson's vocals complement each-other perfectly, again highlighting their musical understanding. the musical journey continues with 'Meanwhile in the Gods...' which opens with a crunchy prog rock riff, that somehow morphs into a quirky keyboard-led pop song, that wouldn't sound amiss on the Grateful Dead's Shakedown Street.

The band jump from one genre to another; soul, blues, folk and even psychedelic country as heard on the standout 'Badlands Here We Come'. With a quick shuffle rhythm supplied by drummer George Sluppick and an awesome theremin intro, 'Badlands' demonstrates their intense creativity and ability to bridge genres effortlessly. 'Badlands' also has lots of guitar overdubs, including a beautiful classical guitar part, a contrast to the stripped back jam-rock of their two previous records.

One of the standout track on Side B is The Black Crowes demo 'Tornado' which has finally been given the definitive studio version this song deserves. A country ballad that tells the tale of a mans taste for excess which meanders along with a infectious Little Feat-like slow groove. The chorus then sounds like the Flying Burrito Brothers which shows their vast musical influences. The album closes with the beautiful, slightly brooding 'Burn Slow' which the band sounds like a slightly mellower Crazy Horse with its distorted guitar chord opening. But as this is the CRB, they turn this own its head by incorporating a Rhodes piano with various psychedelic keyboard and guitar overdubs to create a mystical, slightly other worldly atmosphere. The songs climax is the introduction of triumphant acoustic guitar at around the 4:30 mark. Robinson plays just two chords for a number of bars before fading back into the distorted, keyboard-drenched chorus, concluding one of the finest pieces of music the band has created thus far.

The Chris Robinson Brotherhood have an amazing ability to amalgamate various styles, country, soul, blues, and rock, yet never seem to sound too contrived or forced. Yes, they can sometime sound like other groups or adopt tones or motifs which may have been used back in the 1960s and 1970s. But this is what comes naturally to this group and they are good enough to make everything they do their own and uniquely theirs.

Interestingly, there is distinct influence of British Prog Rock on Phosphorescent Harvest, groups like Caravan and Yes which adds a bit of variation that arguably the two previous records lacked. Phosphorescent Harvest is a start to finish strong album as the jamming is more controlled than previous LP's, which puts a spotlight on the blossoming Casal-Robinson songwriting partnership. I am really excited about what is happening with this group, and all their releases so far have been excellent and sonically exciting.I am looking forward to their latest LP Barefoot in the Head which is due out on July 21st on Silver Arrow Records. Long live the CRB Freaks!

Key tracks:

Shore Power
Badlands Here We Come
Tornado
Burn Slow

If you enjoyed this album, check out:

Beachwood Sparks - Beachwood Sparks
Grateful Dead - Wake the Flood
Caravan - If I Could Do it All Over Again, I'd Do it All Over You

Enjoy!

Tobias Jesso Jr. - Goon

Tobias Jesso Jr. - Goon
Recorded at various studios in LA
Produced by Jr White, Ariel Rechtshaid, Patrick Carney, and John Collins
True Panther Sounds, 2015 

I have recently (well, actually back in 2015) purchased the vinyl pressing of the great album Goon by Tobias Jesso Jr. The Canadian's first album is a stunning collection of pop tunes in the vein of the greats Paul McCartney, Badfinger, and Elton John. I have always been drawn to tuneful, pop music and this undoubtedly (well, for me at least) one of the best album of the last 5 years!

Admittedly, Tobias Jesso Jr. isn't the greatest piano player, as he original cut his teeth working as a session guitarist in Los Angeles. His playing is a bit clunky and does sound like someone finding their feet with the instrument. Despite this, his clumsy playing adds only to the charm and makes this humble and basic LP more attractive and engaging. Goon was written on a piano at his mother's house in his Vancouver, after moving home following a failed relationship and disillusionment with the music scene.

The mood is melancholic, yet uplifting, and the opening track 'Can't Stop Thinking About You', Jesso Jr. combines these two elements skilfully. This is followed by the single 'How Could You Babe', which to me, is a perfect pop song. It begins with a slow verse which gradually builds into a blistering, soulful chorus. One of the highlights for sure, it really demonstrates his ability to craft real melodies and tell simple, relate-able stories. Song after song, Jesso Jr. produces the goods with excellent, melodic pop tunes like 'Without You' and 'Can't We Still be Friends'. Side A closes with one of the albums darker moments with the brooding 'Hollywood', in which Jesso sings of his distaste for the city where he tried, and failed, to make it in the music scene.

Side B is just a strong with the jointy 'Crocodile Tears' which sound like an Elton John outtake from Goodbye Yellow Brick Road or a long-lost Wings' single. The understated 'Leaving LA' and the Fender Rhodes led 'Bad Words' further highlight his growing understanding of how to structure verses and choruses. I strongly believe that Goon is only the beginning for Jesso Jr. and I am certain he is destined for great things.

The strength of Goon is in its' simplicity and warm familiarity of the music. It is unpretentious and charming, and and Jesso Jr. tells simple, human stories which make it such an accessible album. Songs like 'Without You' and 'Can't Stop Thinking About You' are simple tales of love and loss which never for a moment sound forced or too contrived. Indeed, Jesso uses many motifs and phrases which McCartney or Elton John may have well used before, but somehow this album still sounds fresh and stronger than some more original music around today. Goon is a an album which never pretends to be anything it isn't, it doesn't follow a trend, or rely on an image, it is just pure, simple, great pop music.

Key tracks:

Without You
Crocodile Tears
How Could You Babe

If you enjoyed this, also check out:

Elton John - Goodbye Yellow Brick Road
Paul McCartney & Wings - Band on the Run

Fleetwood Mac - Pengiun

Fleetwood Mac - Penguin
Reprise Records, March 1973
Recorded using Rolling Stones Mobile Studios, Hampshire, UK
Produced by Fleetwood Mac and Martin Birch

Penguin is the seventh studio album by the British-american group Fleetwood Mac. Released in march 1973, Penguin is the only album to feature Dave Walker and the first with Bob Weston. Penguin is an album that sticks out in the Fleetwood Mac catologue and one that is easily dismissed and ridiculed by fans and critics alike. Penguin captures the bands transition from a British blues group into the Californian pop machine the band would soon become. The albums title stems from bassist John McVie's fascination with the bird. It is claimed that McVie's obsession originates from the hours he would spend at the zoo studying and watching the penguins.

Fleetwood Mac had always had a turbulent history and the firing of guitarist Danny Kirwan in late 1972 was probably not a surprise to many. The band replaced Kirwan with guitarist Bob Weston and vocalist Dave Walker, a former member of Savoy Brown and a future - albeit brief - member of Black Sabbath.  The album was recorded using the Rolling Stones Mobile Studios in their communal house in Benifold, Hampshire. Most of the songs were written by Bob Welch and Christina McVie, with scattered credits given to the new musicians Walker and Weston. Welch contributes the moodier, bluesier pieces whereas McVie brings the melodic pop songs to completing this very overlooked and underappreciated LP.

The album opens with the groovy, mid-tempo rocker 'Remember Me'. Written and sung by Christine McVie, 'Remember Me' highlights her evolving pop sensibilities as a songwriter. 'Remember Me' flows perfectly into the mellow 'Bright Fire' which has a laid back west-coast feel. The song meanders along with understated vocals and guitar from Bob Welch, setting the tone for the rest of the album. Although not particularly catchy or melodically memorable, 'Bright Fire' has an effortless charm to it and for me one of the albums highlights. The next track is another McVie number 'Dissatisfied'. An upbeat pop song with some great guitar work, especially during the intro and the spectacular solo. The song is classic McVie, with a great chorus, giving us a further glimpse of the style of music to come out of Fleetwood Mac over the next couple of years.

Probably the weakest moment is the cover of the standard ‘(I’m A) Road Runner'. A solid, if not unspectacular cover, I have always felt that the band surely had some more original material that could have replaced this. However, Walker does play some some excellent harmonica, which is probably his strongest input on the record. Side A closes with the country-influenced 'The Derelict' -  the sole Dave Walker composition on Penguin. 'The Derelict' has some great banjo playing and some beautiful harmonica playing from Bob Weston, whose input on the record is sadly minimal. The songs low key country style fits well on the record but does not sound like an other Fleetwood Mac song. These two songs are Walker's only real contributions to the record, a fact that frustrates me.

Vinyl back cover

Side B opens with the Bob Welch penned, 'Revelation'. A groovy shuffle, with strong Latin influences, 'Revelation' demonstrates Welch's technical abilities as a guitarist. My favourite moment on album is the third McVie composition, 'Did You Ever Love Me'. The song has vaguely reggae-like beat, expertly captured by the brilliant Fleetwood-McVie rhythm section. The song has a killer chorus and riff, something which McVie manages to do so frequently and consistently. The album closes with the stunning 'Caught in the Rain'. A piano-guitar instrumental which features beautiful interplay between Bob Weston and Christine McVie.

Penguin is probably not an important album in the Fleetwood Mac catologue by all means. Although a fairly strong seller, the band dismissed it, with Bob Welch calling it "obscure", and Christine McVie described it as "weird". The album is not their strongest in terms of songwriting and creativity, however, there is something about this record that really interests me. Yes, it maybe uninspired in places and the vocals performances aren't terrific, but there is a distinctive vibe that the band captured on Penguin that they never quite reached again. I am disappointed by the lack of input from Dave Walker and Bob Weston on this record, but I think that is due to the bands fluid lineup rather than their musical abilities.

Penguin is the first album that hints at the bands transformation from a stubborn British blue-rock group into the world conquering pop machine. The album is caught between two worlds and for that makes it very intriguing listen. Interestingly, the stronger material are the tunes that hint at this shift to pop orientated music. The weaker moments are the more obvious blues-folk tunes the band had been previously known for. Although the shift may be more noticeable on the stronger followups Mystery to Me and Heroes are Hard to Find, the seeds have been sown, and for that fact this album deserves to be revisited and enjoyed for what it is - a transitional album.

Interestingly, Penguin was their highest charting US album to date, making its way into the top 50. However, during the recording of the followup Mystery to Me the band decided that Walker's vocal style did not fit the group. By June 1973 he left the group, signalling the end of one of Mac's more overlooked and underappreciated lineups. I think i'm always drawn to the odd records in bands catolouge and Penguin certainly is that in the Mac discography. I have know idea why I love this record, but I really do and I hope people find joy in this LP too.

Enjoy!

Key tracks:

Remember Me
The Derelict
Did You Ever Love Me
Caught in the Rain
If you enjoyed this album, check out:

Free - Free At Last (1972)
The Hollies - Distant Light (1971)
Bad Company - Burnin' Sky (1977)
Faces - Ooh La La (1973)