Jul 222024
 

Raveonettes SingI don’t know about you but I just love the fusion of ’60s pop and scuzzy walls of post-punk guitars: think Jesus & Mary Chain, My Chemical Romance and, of course, da brudders Ramone, melody and noise in a perfect pairing. Arguably, the Cramps started off this attractive meeting of opposites back in the mid 70’s. The baton has since passed to and fro, between froth and feedback, so often as to make it sometimes difficult to where it all started. (The answer, by the way, is probably Phil Spector.)

Denmark’s Raveonettes, the not-husband & wife duo of guitarist/vocalist Sune Rose Wagner and bassist/vocalist Sharin Foo, know this. They’ve spent their career allying close two-part harmonies into a scaffold of guitar noise. With their last album having been released in the Mesozoic era of 2017, many had deemed the band lost in action.

But Cleopatra Records knew otherwise. That L.A. institution has been the home of innumerable records that record and relate the co-terminosity of opposing genres. In fact, they featured the Raveonettes’ version of “The End,” that epic Doors song, etched forever into Coppola’s Apocalypse Now, for their somewhat limply titled Indie Goes Pop compilation. Now they have encouraged the duo to embark on a set of ’60s covers. Given the pair started off singing Everly Brothers songs in the clubs of Copenhagen, this isn’t too much a stretch. The love for the material still remains extant within their performance, if a little dialed back, on The Raveonettes Sing….
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Dec 012023
 

Blimey, but hasn’t George Ivan been busy. He’s churned out four albums in the past three years; Accentuate the Positive is the second one this year to catch our eye. If Moving On Skiffle was his skiffle album, Accentate the Positive is Van Morrison’s homage to rock and roll, or the roots thereof. A wedge of tunes largely from the late ’40s into ’60s, this is the the sort of stuff that must have caught his ear as he was starting off himself, as a fresh faced r’n’b shouter from Belfast. And once more, by making this a parade of idiosyncratically offered cover versions, he avoids the problem that his recent streak of original material had in spades, that of his bluntly critical lyrical bombast. Which I, for one, salute, as this is mostly a joyous set of songs.
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Aug 212023
 

Given the links between the Wainwright dynasties and the Thompson equivalent, I always think of Rufus Wainwright and Teddy Thompson, lifelong friends and competitors, certainly the former, playing together as children whilst their parents made their musical footprints. Indeed, there seems often a Wainwright present whenever the Thompsons congregate for a collective show, and possibly vice versa. Last month Rufus W put out his recent Folkocracy, reviewed here, the North American honoring, by and large, the music from the other side of his pond. Now, with My Love of Country, Teddy is now doing the same in reverse, with this paean to American music. Kinda wish he called it Countrypolitan, but he didn’t. Anyway, this isn’t Thompson’s first set of Nashville covers; 2007’s Upfront and Down Low served as his first rodeo. Plus, as we wait impatiently for the 3rd EP of his Teddy and Jenni EPs, with Jenni Muldaur, each covering a different set of famous country duet artists, it may not be his last.

For years I’ve held the hope aflame that one day Richard might get routinely referred to as Teddy’s father, rather than for Teddy to be always Richard (and Linda)’s son. But, despite seven largely well-received albums, and another half-dozen plus as a producer, Teddy’s career has always seemed to be as a supporting act, and I fear that day may have passed. A pity, as he has a strong and emotive voice, a keening tenor that is perfect for picking up all the emotions and sadness that populate many of his songs. Not to mention that of the whole anguished canon of country music. A consummate interpreter of existential angst, you just know that when he approaches lyrical distress, tears are going to be well and truly jerked.
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May 312023
 

Version Girl by… Rhoda who?

Well, think back to the heady days of 2 Tone Records, Coventry, UK. On the cusp of the 1970s into ’80s, this label hosted the Specials, the Selecter, the (English) Beat, and more. Their revisioning of ska arguably led to the proliferation of ska-punk bands in the US, led off by No Doubt. The 2-Tone movement was as much a political beast as a musical one, preaching a message of integration, with many of the (already multi-racial) bands including children of the 1950s wave of immigration, from the West Indies and into the UK. Racism was more savage then, or perhaps just more nuanced, with the movement alerting the youth of the nation into a better understanding and acceptance.

Anyway, Rhoda Dakar was a member of the Bodysnatchers, an all-female band, who had some brief success before evolving into the Belle Stars, who had a number of hits, including their version of old N’Awlins staple “Iko Iko.” Dakar was not a Belle Star herself, but she moved on to being a guest singer with the Specials, for their second album, touring with them, later becoming a member of the Special AKA, the band they evolved into. Primarily a singer, she has since made a number of solo recordings and popped up in collaborations with a number of acts, notably Madness and the Dub Pistols. Now she has released Version Girl, her first solo album since 2015’s Rhoda Dakar Sings the Bodysnatchers.
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Jul 052022
 
Amy Lee & Dave Stewart

Evanescence’s lead singer Amy Lee has teamed up with Eurythmics lead Dave Stewart to release a cover of the Everly Brothers 1960 song, ‘Love Hurts’, released as part of the Hey Doll Baby online festival that celebrates the life and work of the Everly Brothers. Continue reading »

Apr 012022
 
whitmore sisters

On their new album Ghost Stories, The Whitmore Sisters – Eleanor and Bonnie – cover another iconic sibling duo: The Everly Brothers. But they don’t go for an obvious oldies-radio hit like “All I Have to Do Is Dream” or “Cathy’s Clown.” Instead, they dig out the 1984 Paul McCartney-penned chestnut “On the Wings of an Nightingale,” and make it sound every bit as classic as anything in the Brothers’ catalog. In some ways, their cover actually sounds more like the Everly Brothers than the original, which piles on some unfortunate ’80s production. Continue reading »